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Largest PAID Circulation in the Field — 10,709 

Moving^ Picture 

WORLD 


Vol. 58, No. 1 


SEPTEMBER 2, 1922 


PRICE 25 CENTS 



JESSE L. LASKY PRESENTS A 

George Mel ford 


PRODUCTION 


mmo sum 


WITH 


WANDA HAWLEY, MILTON SILLS, 
ROBERT CAIN, JACQUELINE LOGAN 

A MAN’S flaming answer to “The Sheik.” 
A bigger, better story than that, and a 
box-office attraction extraordinary. 

From the novel by Arthur Weigall 
Scenario by Olga Pritzlau and Waldemar Young 

(2 (paramount picture 

FAMOUS PLAYERS- IASKY CORPORATION 


Published by CHALMERS PUBLISHING COMPANY 


516 FIFTH AVE. 
NEW YORK CITY 




MOVING PICTURE WORLD 


JJ2 




rr rrrrrr 


DOROTHY GISH PRODUCTIONS 

pr-esc’n.t 



' ' 

, * 




Dorothy 




COUNTRY’ 

» FLAPPER' !n 


L 


DIRECT FROM A RECORD-BREAKING WEEK IN THE 

CAPITOL THEATRE 

NEW YORK CITY 

TO THE 

CALIFORNIA THEATRE 

LOS ANGELES 

OPENING SEPT. 3 

DIRECTED BY F. RICHARD JONES 


Famous Director of MICKEY 
MOLLY-© W/?c> CROSS ROMS of NEW YORK 

Cl S^'Stn^rlcjxble offering for 

JtncJep end end vOisfrihu-fors 

"WIRE US NOW 

PRODUCER S SECURITY CORR 

516 — 5TH.AVE. NEW YORK 









THE YOUNG DIANA 


Story by MARIE CORELLI Scenario by LUTH ER REED Di rooted by ROBERT C VIGNOLA and ALBERT CAPELLANI 

Settings hy JOSEPH URBAN 


Its a Pararn-Qun t~RiG ture 





MARION 

DAVIES 


The YOUNG 
D IAN A" 


Story by 
MARIE CORELLI 
Scenario by 
LUTHER REED 

Directed by 

ROBERT G.VIGNOLAWALBERT CAPELLAN I 

Settings by 
JOSEPH URBAN 





T HE role of Diana May is the 
most interesting Marion 
Davies has ever created. It of- 
fers her a wonderful opportunity 
for the display of her delicate 
dramatic art — as well as the most 
gorgeous collection of gowns this 
delightful star has ever worn. It 
will appeal tremendously to 
every member of the fair sex. 

“The Young Diana” really mer- 
its the Motion Picture News 
characterization : 

"The Picture That 
Has Everything” 

Play it to your Profit. 







Goldwyn 

announces 
the first 
qF the 


bio pictures 


c\"‘ v 


Rupert'' 

Hughes' 


John ' 

Rariyro 0 

Shftlo^ 


TheBig Birds On The Horizon / 


Goldwyn Means Big* Pictures / 


Goldwyn announces the first 




Rupert 
Hughes 

Now gives us a greater 
story of American 
family life 


with Claude 
Gillingwater, 
Patsy Ruth 
Miller, Cul- 
len Landis. 


“A m erica’s greatest dramatic artist” 


John 

Barrymore 

as Sir Conan Doyle’s famous 
character of detective fiction 




A CAST TOP-HEAVY WITH TALEN'T 


Holmes 

From the William Gillette play 

Directed by Albert Parker 


The Author of 
“The Old Nest " 






Anzia Yezierska’s 


ungry 


earrs 


Directed by 

E. Mason Hopper 


The story of those who found 
love, beauty and power in 
America 




Maurice 

Tourneur’s 

biggest motion 
picture success 


The 
Christian 



By Sir Hall Caine 

This picture will create 
a photoplay sensation 

with Richard Dix, Mae Busch, 
Gareth Hughes, Glaude Gillingwater. 
Phyllis Haver, Joseph Dowling 


Sold individually. Each One 



of the Twenty Big Ones 


Here is 

A Great 
Picture 


J'lie vivid story of 
n Mississippi flood 


-i'j 




Directed by Frank Lloyd 

with Helene Chadwick, James 
Kirkwood, Ralph Lewis and 
Richard Dix 




12 


Lon 

Chaney 

gives us his greatest 
character role in 



a Bli* 1 ** 

Bargain 

The story of a Man-devil and an Ape-man 


A story of love and the menace 
of a mad messenger of science 

Directed by Wallace Worsley 



Marshall 

Neilan’s 

cleverest picture 




The >4 
Strangers’ 

Banquet 



with Hobart Bosworth, Claire Windsor, 
Rockliffe Fellowes, Nigel Barrie, Claude 
Gillingwater, Margaret Loomis and 
Stuart Holmes 


advertised to the limit! 


G oldwyn Pictures in 1922 "23 



GOLDWYN will produce and distribute during the coming 
year only TWENTY BIG PRODUCTIONS. Each one is a 
truly BIG picture in every sense of the word. Each picture 
is being produced in a BIG way, built on the solid foundation 
of GREAT stories, directed by the foremost directorial minds 
in the business, backed by the unlimited resources of the 
Goldwyn organization, created to make money for you. 
Each will be sold individually on its own merits. 

Intensively Advertised 

BIG pictures are BIG from the point of view of your box- 
office and bigger when they are properly advertised and 
exploited to your audience. We are going to tell America 
about each GREAT Goldwyn production through a tre- 
mendous advertising campaign. We will tell your audience 
about our line-up of powerful attractions through intensive 
national and local advertising, in the principal magazines, in 
hundreds of newspapers, on billboards. 

Goldwyn Will Make “ Ben Hur” 

BEN HUR, the most widely known book in the world is 
being made by Goldwyn into a colossal dramatic spectacle, 
filmed in Palestine, Egypt, Italy, America. 

Other great Goldwyn pictures to come: 

GIMME — another Rupert Hughes knockout. 

SIX DAYS— Elinor Glynn's stupendous love drama. 

PASSIONS OF THE SEA-R. A. Walsh’s first Big One 
for Goldwyn. 

BROKEN CHAINS— $10,000 prize story directed by 
Allen Holubar. 

THE BITTERNESS OF SWEETS— a wonderful Rupert 
Hughes story. 




September 2, 1922 MOVING PICTURE WORLD 

LEAVING THE CREAM IN 
THE BOTTLE 


T RECENTLY left the West Coast Studios, 
after screening practically all of our fall 
productions, to be released under the forty- 
one picture program, sold to exhibitors for 
the first six months of this year. 

In talking to exhibitors of these pictures, 
I promised them the greatest productions 
that our Producing Department had ever 
turned over to us for distribution. 

Those of you who bought these produc- 
tions on faith and on our word, know to 
what extent our pledges have been kept. 

We are releasing these productions just 
as fast as possible, and in many cases pre- 
releasing, to get them into your hands at 
the earliest possible moment. 

^ As an example, “Blood and Sand” is just 
finishing the greatest four weeks’ run in 
Broadway’s picture history, and could have 
been kept on indefinitely. Everyone knows it 

admits it — but there was something else 
to think of besides the profits this picture 
would make for us after an indefinite run. 

Exhibitors are in need of box office attrac- 
tions now more than ever before in their 
history, so “Blood and Sand” is being sent 
on its way so that YOU and YOU and YOU 
may get it soon. Not only to make you 


money, not only to start your new season 
but to show to the people who support 
your theatre, that this is one of the kind of 
pictures you were talking of when you told 
them of the new Paramount program of 
this season. 

And this is but one — there are more to 
follow— for when you have seen “Man- 
slaughter,” “The Old Homestead,” “Burn- 
ing Sands,” “To Have and To Hold,” “The 
Young Rajah,” “The Spanish Cavalier,” 

Clarence and others, you will realize more 
than ever before what a dependable source 
of supply means, and that the making of 
fe0 °d pictures is the result of good planning, 
good thinking, good resources, and good 
organization— not the result of just big talk. 

Two-dollar pictures? Yes, everyone of 
them, and they could have been shown at 
$2 for a long run. But you, Mr. Exhibitor, 
would not have had them for six or eight 
months, and you need them now. 

They were made for you, for picture 
theatres to run, at popular prices, and bring 
back your business as only pictures of this 
kind can do. 



Q>ara mount pictures 



l+) FAMOUS players -las ky corporation 


ADOLPH ZUKOR. President * 

'NEW YORK CITY» 


Cpa /nmount 





ENTERTAINMENTS 

c aasi? a theme as big as all outdoors 

c^Jai so simple a child can understand it! 

HEART INTEREST Plus 

storj that digs inlo the Heart ad Imbeds-' 
therein a never" lo~be* forgotten lesson / 

EXPLOITATION VALUE 


a storf that will appeal to the masses 
rather than the classes. 


Combined is what Exhibitors have-^ 
demnded^ou ffi these 3 and more/ 

_ in 

Edward Slomanf s 

ir A Personally ProcLaccd PlAcltc II 

BLIND JUSTICE 



^Adapted From ^ 
FMNKLR.ADAMS 

most popular story^ 
recently published in 


MILTON SILLS 
PAT OiMALLEY 
ALEC FRANCIS 
CARMEL MYERS 
CHAS CLARY 
ERIC MAYNE 
JACK MOWER 
WALTER LONG 

PRODUCTIONS. 45^4 Sunset Slvd.,Los Angetew/. 


MUNSEY’S MAGAZINE 

d'BOX OFFICE' TITLE. 

T-A STORY FRESH in the PUBLIC'S MIND 

r \ masterly direction n 

4 a PERFECT PRODUCTION < ^v' 



Sward Sloman 


in 






James W. Dean, one of America’s 
foremost newspaper critics, whose 
reviews are printed in hundreds 
of papers, said : “Lloyd Hamilton 
is hereby nominated for a place 
in the hall of comic immortals. 
Chaplin, Lloyd and Keaton must 
crowd up a bit to give him room.” 

1 LOYD HAMILTON’S excellent work in 
our Mermaid Comedies h*s earned for 
~ him, through the public’s steadily in- 
creasing approval, promotion to a producing 
company of his own. Under the name 
HAMILTON COMEDIES this comedian 
will present on the screens of the world six 
feature comedies, each in two parts, for the 
season of 1922-23. 

As much care, thought, time and money 
will be spent on these Short Subject features 
as is usually spent only on five-reel pictures. 

The first production featuring this great 
screen humorist will be ready for your en- 
joyment early in the fall. 

Ask the manager of your favorite theatre 


LLOYD 


HAMILTON 



now if he has contracted for HAMILTON 
COMEDIES, and when he will be able to 
show you the first picture. 

H AMILTON COMEDIES, like all motion 
pictures released by Educational, will 
carry our trade-mark on their posters and 
lobby cards and on the motion pictures 
themselves. 


When You See This Sign 
Go In — 

It’s the Sign of a 
WHOLE Evening’s 
Entertainment 



HAMILTON! 

Is Known To 24,000,000 PEOPLE Who See 

C if ■mi ■mu ^ THIS AD IN 

The Saturday Evening Post 

and the LADIES’ HOME JOURNAL ( Nt S”e ber ) 


SIX FEATURE TWO-REEL 
Comedies for 1923 

Contract for Series Now! 


EDUCATIONAL FILM EXCHANGES, Inc. 

P tV Hammons. President 


EDUCATIONAL FILM EXCHANGES, Inc. 


E. W. Hammons, President 




EORE7GAS REPRESE7VTAT71/E 

S/DNfy GARRETT 


MOVING PICTURE WORLD 


September 2, 1922 


T HIS man married to get hold of his 
wife’s money. First he eliminated 
his rival by a framed up robbery. 
Then he systematically lied, cheated and 
deceived the innocent girl behind the re- 
spectability of marriage. Eventually the 
wife found him out. To save his own 
reputation he attempted to prove her in- 
fidelity. She is saved by an unexpected 
and highly dramatic occurrence. 

It is based on life. Any woman in the 
same situation would do exactly as Leah 
Baird does. 

It is a gorgeous vision of ravishing 
gowns and lavish settings. 

It has an exploitation title. It will open 
big and hold up for a run. 

An early Fall release, now booking. 


eptember 2, 1922 


MOVING PICTURE WORLD 


7 



“Don’t Doubt Your Wife” 
“When The Devil Drives” 

Both Brilliant Dramas of Wedded Life 
by and with 

LEAH BAIRD 

and now 


Her Greatest, Most Astonishing Revela- 
tion of a Pointed Truth About Men, 
Women, Love and Marriage. 

Directed by Wallace Worsley, supervised 
by Arthur F. Beck and played by a splen- 
did cast. 

LEAH BAIRD 

Jack Mower William Conklin 

Katherine Lewis Eulalie Jensen 

_ John Cossar 


Physical Distributor; 

Pathe Exchange A 



8 


MOVING PICTURE W O R L D 


September 2, 1922 





TTMTITHVQ 


‘ Directed by 

Sidney Olcott 

Scenario by Katherine Stuart 


Here is another story by the beloved 
author of "’Rebecca” and it is as 
big, as human, as sweet and appeal- 
ing as "Rebecca.” It was scena- 
rioized by the girl who did "The 
Cinderella Man” and directed by 
the man who made Mary Pickford’s 
"Poor Little Peppina.” 

"TIMOTHY’S QUEST” is the love- 
liest, sweetest story that any distrib- 
utor in the world has for the new 
season. Prints now being shipped 
to all our 24 exchanges. See it 
quick. 


AmcriTaTE 


RELEASING 


CORPORATION 


In Canada: Canadian Releasing Corporation, Limited 


All the world loved "Rebecca of 
Sunnybrook Farm” and "Daddy 
Longlegs” and exhibitors every- 
where made big money when they 
played them. 


MOVING PICTURE WORLD 


9 


September 2, 1922 


Extended Run at Hlad? Seruiett's mission 



Booked immediately on sight and introduced by a tremendous news- 
paper, billboard and exploitation campaign in the leading extended 
run theatre on the Pacific Coast, opening Saturday, August 26th. 

Booked for the Lubliner and Trinz first run theatres in Chicago, 
opening August 27 as a pre-release, having its world-premiere at the 
Los Angeles Mission; following over the entire Lubliner and Trinz 
chain in Chicago; booked pre-release by Ed Fay in Providence and 
everywhere announced and expected to be a sensational box-office 
success based on the picture itself; on the alluring box-office quality 
and drawing power of its title. 


From Paul Potter's Famous Play 


Jl Ray C. Smallwood. Production 


Featuring Martha Mansfield, Joseph 
Striker and Henry Harmon. 

So, this is Paris ! 

Mad, fascinating Montmartre. 
Parisian night life that brings the 
amusement-seekers of the world to 
the resorts of the gayest city in all 
the world. 


A spectacular, romantic melodrama, 
full of color; full of life; full of 
thrill and excitement and action; a 
story of love and ambition and 
temptation revolving around the 
famous Red Mill. 

Prints in all our 24 exchanges now 
and you can get a pre-release show- 
ing ahead of its national release 
September 10. 


America it 

RELEASING CORPORATION 


In Canada: Canadian Releasing Corporation, Limited 


presents 

QUEEN OF THE 
MOULIN ROUGE 


10 


MOVING PICTURE WORLD 


September 2, 1922 


WHEN WILL YOU SEE 
RICH MEN’S WIVES 


Rothafel 

Saw 

Balaban & Katz 

Saw 

Nicholas Schenck 

Saw 

(Loew Circuit) 


A. H. Blank 

Saw 

Eugene Roth 

Saw 

Tom Moore 

Saw 

Frank Newman 

Saw 

Jensen & Von Herberg 

Saw 

Fred Miller 

Saw 

Skouras Bros. 

Saw 


/ 


Rothafel 

Booked 

Balaban & Katz 

Booked 

Nicholas Schenck 

Booked 

A. H. Blank 

Booked 

Eugene Roth 

Booked 

Tom Moore 

Booked 

Frank Newman 

Booked 

Jensen & Von Herberg 

Booked 

Fred Miller 

Booked 

Skouras Bros. 

Booked 


RICH MEN’S WIVES 


BOOKED AT SIGHT 


It’s A Money Maker 

Arrange to See It at the Nearest A1 Lichtman Exchange 

Distributed by 

AL-LICHTMAN 

C ORP O RAT I O N 


576 FIFTH AVENUE NEW YORK CITY 






September 2, 1922 


MOVING PICTURE WORLD 



Lewis J. Selznick 

presents 


LOVE IS AN 

AWFUL THING! 

s^OWEN MOORE 


stariring\J Y 1 
by Victor Heerman 


A Victor Heerman Production 


%e King ofSarce 
Comedy in mother 
Uiotously ‘Sunny 
Seat ure, ably 
supported by a 
notable Selznick 
cast Which in- 
cludesMarjorie Venn 


C=3 


12 


MOVING PICTURE WORLD 


September 2, 1922 



{<■ STRENGTH^! 


WILLIAM FOX ANNOUNCES 

THE RELEASE ^ X 

OF HIS FIRST THREE BIG SPECIALS 
OF THE NEW SEASON 


AN HONEST MOTION PICTURE 


RELEASED AUGUST 20th 


ALEXANDRE DUMAS'OREATEST STORY 


Doo /- c noLU and get 
\ Nation-coide Pu/ici 

RELEASED SEP r 


with MARY CARR 

NOW ROUNDING OUT ITS 
ALL-SUMMER NEW YORK RUN 


Visiting Exhibitors 

k. are invited to stop in and see 
ox. Specials Showin d There. 


September 2, 1922 


MOVING PICTURE WORLD 


13 






14 


MOVING PICTURE WORLD 


September 2, 1922 



It's an audience picture. 




V Story by 
A Mary Murillo % 


'w ‘Directed by 

Herbert Brenon 


And — zowie — what a fight. 


A combination that should make the old 
S. R. O. sign do double duty and stand 
’em up to the fire limitations all the 
week. 


A fine actor — a punchy story — an 
excellent, cast, and a great direc- 
tor— Farnum was never better 
suited. 


i i i 


William Farnum 


fflllP 


William Farnum Returns to the Big Outdoors. 

TTERE is Farnum back in the open with a wonderful 
child, a sensational dog, a new leading woman, a 
great story by Mary Murillo, — and directed by Herbert 
Brenon. 



September 2, 1922 


MOVING PICTURE WORLD 


15 



16 


MOVING PICTURE WORLD 


September 2, 1922 


1 1 i a m 



ts STRENGTH 


in 








New York Newspapers Applaud Tony 


;C-. 


‘We never have seen such remarkable acting on the part 
of an animal * * * Here is a photoplay that everyone who 
loves a horse should see.” — N. Y. World. 


“You ve seen horses? Oh, no you haven t * * * If 
you really want to see a horse, look at Tony in 
the film that bears his name.” — N.Y. American. 


“Something worth while and entirely differ 
ent * * * Mix’s four footed partner has 
dramatic talents that make him worth 
his weight in oats.” — N. Y. Herald. 

“It is a picture filled with action 
\ and adventure, packed with thrills 
and well worth seeing.” — N. Y. 
s. Commerical. 




September 2, 1922 


MOVING PICTURE WORLD 


17 



18 


MOVING PICTURE WORLD 


September 2, 1922 



Then a roar of approval 

that shook the gorgeous New York Capitol Theatre from the pit to its glittering dome — 
that acclaimed Harrv Carey as ABSOLUTELY THE GREATEST WESTERN STAR ON THE 
SCREEN! 

Get this straight, Mr. Exhibitor: Harry Carey is backed today by the greatest organization of practical showmen 
in the business — by exploitation and showmanship that outdoes anything ever attempted in the past — 

We not only give you Harry Carey in a stupendous SHOW but we give you the big-fisted exploitation to jam it over in true 
Barnum fashion. A red-blooded combination that goes right out and drags ’em in! Hitch up to Harry NOW. Your nearest F. B. O. 

Exchange will gladly serve you. 

Book 



In the dictionary of the show business, /IfcKICKrBACK means SRO- 

Distributed by Film Booking Offices of America, Inc. — Exchanges everywhere 





A Stirring Novel SCIMITARS OF THE SEA- -By Kingsley Moses 



Member NEWSSTAND GROUP — Circulation More Than a Million a Month 


Dear Mr. Burr: 

1 congratulate you on seeing the motion- picture possi- 
bilities of Gerald C. Duffy s great story. As a vehicle for 
Johnny Hines, and with Doris Kenyon, Ejffe Shannon, 
Edmund Breese, Robert Edeson, J. Barney Sherry and 
Charles Gerrard, it should make a splendid motion pic- 
ture. 


(Signed) HAROLD HERSEY. 







LITERATURE DRAM 


EDUCATION CULTURE 


MAY 


THE MAVCLlJ 

Director author cutter, contldult/ writer make up J 


/yd ra- 

j'n. the 
/ithout 
I andle<| 
flmire." 
of bed 


“‘Sure Fire Flint,’ most extraordinary story, 
by one of the best writers in the country.’’ 

C. C. Burr Presents 


In the Literary Digest of May 
20 th is a reprint of an article 
which Gerald C. Duffy wrote in 
Picture Play Magazine. This 
article appears under the sub- 
heading “ Letters and Art,” and 
Mr. Duffy is probably the only 
screen writer who ever broke 
into this magazine, let alone 
this department. 


Mr. Harold Hersey, Editor of 
Ace High Magazine, published 
by The Readers’ Publishing 
Corporation, states that Mr. 
Duffy, in his opinion, is one 
of the best writers of the day. 


JOHNNY HINES 
DORIS KENYON 
EDMUND BREESE 
ROBERT EDESON 
EFFIE SHANNON 
CHARLES GERRARD 
J. BARNEY SHERRY 


'Cht iRrabru' ^ubliftiing Corporafwrr 


MANGLING MASTER I* 

IT THAT SEA CHANGES overtake the classics of litcrr, 
%/\/ ture when they are "pictunzed " for the 
» ▼ known but not comprehended? Half the repulsi- 

that cultivated people feel for the screen arises from seeing tb, 
beloved tales turned 
lesques. Something has h 
is often putzled to know u 
perversity Mr. Gerald < 

Magazine (June) that ther 
bending stones out of shaj 
“good" for everybody bu 
he may rise up like Fannie 
If he be dead and can 
friends and admirers suffei 
is persuasive from the mi 
"Frequently a produce 
book because the title is \ 
fact that his star does n< 
blandly overcome by cult 
star. So some of the tb 
star, w ho is naturally mar 
in the story — reads the sci 
.characters are loo promin 
the other characters — perb 
— are subordinated or entr 
plot. Again you lose a it 
" In rewriting the senpt 
scenario writer may thmM 
and pleases him that he 
the director, who is never 
this twist, gives birth to a 
the characters who have ti 
of the book, and starts to 
through, it may be disco v 
the characters to Greenlac 
and the manufacture of a s 
some, the players are senL 
and. says the director, the houses ii 


TV "fr—t 

B)|tor,*te«.IUfk B*Mln*.* V — ' 


i Pasadena are more modem 
and impressive than the snow huts of Greenland, anyway. 
When you finally see the motion-picture version of your 
favorite book upon the screwo you are dumfouuded. The 


the collaboration of tne star 
can be ruined instantaneously, 
ing to the work of the star the 
wooden. 


ere it can t get away from 
o the second author, the 
in it ‘ What he sees is 
nd in need of much plotty 
ispirmg. exhilarating If 
hmque. removes portions 
ites it with some ideas of 
treatments of technique, 
ortions. and inoculates it 

sculptor’s clay it can ho 
s forms, some graceful, 
nal clay 

labor, the scenario writer 
temporary state, to the 
Always he expresses his 
> adjectives. Either it is 
intil he has overhauled it 
‘great ’ To achieve this 
a of technique, removes 
d inoculates it with some 

ned over to the casting 
or as any one else for the 
tompletely m his power, 
importance to a story as 


shed the time arrives for 
Here ill of the preceding work 
or it can be improved. Accord - 
heroine can be made* piquant or 


A Sensational Cast 

Directed by 

Dell Henderson 

Art Director 

Chas. Osborn Seessel 

Sub-Titles by 

Ralph Spence 

Photography by 

Charles Gilson 

and 

W. G. (Billy) Bitier 


JOHNNY HINES’ LATEST 


“SURE FIRE 


MASTODON 

FILMS, Inc. 


C. C. BURR, Pres. 

133-135-137 West 44th Street 
New York City, N. Y. 


FLINT” 


DISTRIBUTED BY 


DAVE SEGAL 
Royal Pictures. Inc., 

1337 Vine Street, Philadelphia, Pa. 


LOUIS HYMAN 

All-Star Features Distrib., Inc., 

209 Golden Gate Ave., San Francisco, Cal. 


FLOYD BROWN 
The H. Lieber Co., 

122 West New York St.. Indianapolis, Ind. 


J. F. CUBBKRLEY 

F & R Film Co.. 

Loeb Arcade Bldg.. Minneapolis. Minn. 


ROY SEERY 

Associated First National Picture*. 

831 So. Wabash Ave., Chicago, 111. 


SAM MOSCOW 
Moscow Films. Inc., 

54 Broadway, Boston. Mass. 


A. H. BLANK ENTERPRISES 
Des Moines Theatre Bldg., 

Des Moines. Iowa. 


M. A. KLAUSNER 
Mountain States Film Attractions. 

2006 Third Ave.. Seattle. Wash. 


M A. KLAUSNER 
Mountain States Film Attraction*, 

1525 Treraont St., Denver, Colo. 


DAVIS & ALEXANDER 
Columbia Film Service, Inc., 
119-121 Ninth St., Pittsburgh. Pa 


WM. SKIRBOLL 
Skirboll Bros. Gold Seal Prod.. 

21st & Payne Sts.. Cleveland. O. 


SAM ZIERLER 

Commonwealth Picture Corporation. 

729 Seventh Avenue. New York. N Y. 


Foreign Distributors — WM. M. VOGEL , 126 West 46th Street , New York City 



The UHman Mfg. Co., Art Publishers. N. Y. 






The “Dollar- a-W eek” Men 


make a report on 


NORMA TALMADGE 


— in — 


‘The Eternal Flame ’ 


ilimHHiKiHIIIIIUIIHIHttMBt 


They ought to know a picture when they see 
one for they are all practical showmen and 
winners of the National Exploitation Contest 
last First National Anniversary Week 





r ORMA TALMADGE has scored an- 
other dramatic and artistic triumph! 

Such was the consensus of opinion from 
the eight prize-winning Associated First 
National exhibitors, after witnessing her 
latest super-production, "The Eternal 
Flame," as guests of Joseph M. Schenck. 
The private showing was held for the ex- 
hibitors in Hollywood, which they visited on 
their tour. 

"Miss Talmadge runs the gamut of emo- 
tions and reaches the pinnacle of her chosen 
work," said A. G. Stolte of the A. H. Blank 
Enterprises, Des Moines, Iowa. 

“ 'The Eternal Flame’ is screen literature,” 
said Frank Steffe, after witnessing the pre- 
view. "1 predict that in my locality it will 
have a long run and will do the screen an 
immeasurable good. It is a gem and there 
is not a slow spot in the 7400 feet.’’’ 


"The film has a heart appeal that grips 
and holds one and 1 predict it will be a tre- 
mendous success," was the expression of 
Ben Davis of the Colonia Theatre, Norwich, 
New York. 

"Marvelous acting and photography, 
backed by a heart interest story that has no 
equal, makes ‘The Eternal Flame’ ‘a master- 
piece as well as a magnet that will attract 
S. R. O. crowds,” said Joe Burton of the 
Star Theatre, Toccoa, Georgia. 

O. K. Mason, who represents the Regent 
Theatre of Wichita, Kansas, was equally 
vehement in his praise of the film. "It is a 
wonderful picture, excellently directed and 
photographed and replete with dramatic 
value that will please all," he said en- 
thusiastically. 

"A brilliant star and a picture the value 
of which is enhanced through the spending 


of large sums of money to give it the neces- 
sary artistic finish — a film that will satisfy 
audiences and make money for exhibitors," 
is the manner in which Alfred Gottesman 
characterized the picture. 

Ralph Lieber, nephew of Robert Lieber, 
president of Associated First National and 
Business Manager of the Circle Theatre of 
Indianapolis, and Nick McMahon, Jr., of 
Ironton, Ohio, were equally enthusiastic in 
praising the picture to Mr. Schenck, who 
asked for candid opinions regarding the 
production. 

Conway Tearle, who plays opposite Miss 
Talmadge, gives the best performance of his 
career, say these experts. They also praise 
Frank Lloyd for his fine direction; Frances 
Marion for her adaptation and titles, and 
Tony Gaudio for his photography. The 
story is adapted from "La Du ch esse de 
Langeais," by Honore de Balzac. 


You’ll All Agree When You See It! 



A FIRST NATIONAL ATTRACTION 


J 




September 2, 1922 


MOVING PICTURE WORLD 


19 


SERVICE 


28 Reasons 

WHY VITAGRAPH SERVICE 
PLEASES ALL EXHIBITORS 

Years in Vitagraph Service 

G. H. BALSDON, Manager Vitagraph New York Exchange 7 years 4 months 

C. W. SAWIN, Manager Vitgraph Boston Exchange 7 years 4 months 

J. E. HUEY, Manager Vitagraph Dallas Exchange 7 years 4 months 

F. W. REDFIELD, Manager Vitagraph Pittsburgh Exchange 6 years 7 months 

J. T. DROY, Manager Vitagraph Toronto Exchange 6 years 6 months 

J. P. BETHELL, Manager Vitagraph Philadelphia Exchange 6 years 5 months 

J. A. STEINSON, Manager Vitagraph Chicago Exchange 6 years 4 months 

J. E. BECK, Manager Vitagraph Cleveland Exchange 6 years 

JOHN FLEMING, Manager Vitagraph Winnipeg Exchange 6 years 

R. J. ROMNEY, Manager Vitagraph St. John Exchange 5 years 7 months 

FRANK MEYERS, Manager Vitagraph Montreal Exchange 5 years 4 months 

W. C. WHEELER, Manager Vitagraph San Francisco Exchange.. ..5 years 4 months 

G. H. WARE, Manager Vitagraph St. Louis Exchange ...5 years 3 months 

EUGENE WILSON, Manager Vitagraph Washington Exchange. .5 years 

B. A. GIBBONS, Manager Vitagraph Albany Exchange 4 years 5 months 

C. W. ANTHONY, Manager Vitagraph Buffalo Exchange 4 years 1 month 

N. G. SHAFER, Manager Vitagraph Cincinnati Exchange 3 years 8 months 

M. W. OSBORNE, Manager Vitagraph New Orleans Exchange 3 years 8 months 

A. J. BECK, Manager Vitagraph Oklahoma City Exchange 3 years 3 months 

I. P. STONE, Manager Vitagraph Atlanta Exchange 3 years 1 month 

J. H. YOUNG, Manager Vitagraph Detroit Exchange 3 years 

H. A. BLACK, Manager Vitagraph Seattle Exchange .....3 years 

C. J. MARLEY, Manager Vitagraph Los Angeles Exchange 2 years 5 months 

T. 0. BYERLE, Manager Vitagraph Kansas City Exchange 2 years 

F. H. KNISPEL, Manager Vitagraph Minneapolis Exchange .2 years 

C. A. SCHULTZ, Manager Vitagraph Omaha Exchange 2 years 

JOHN RUGAR, Manager Vitagraph Salt Lake Exchange 2 years 

F. E. HICKEY, Manager Vitagraph Denve Exchange 1 year 

ALBERT E. SMITH president 




20 


MOVING PICTURE WORLD 


September 2, 1922 


Our 

Own 

Medicine 


“The big picture deserves big advertis- 
ing”- 

Producers and distributors have been 
telling the exhibitor for years, season in 
and season out. 

The exhibitor probably believes it now. 
Believing it, he probably also has that 
thought in mind when he does his own 
shopping. 

And if that is the case — many producers 
must be receiving very bad-tasting 
doses of their own medicine. 

* * * 

To the exhibitor the producer says, “The 
big picture deserves big advertising.” 

To his advertising manager he says: 
“This one will sell itself, it is so good. 
Get by as cheaply on the advertising 
campaign as you can.” 

In those war-time prosperity days when 
big grosses rolled up as if by magic this 
producer was able to “get by as cheaply 
as possible.” In the first succeeding 
days when the unusual picture was so 
exceptional and rare as to stand out like 
a lighthouse he still had a chance. 

But this is a different day. And the 
coming season a different season. 

There is competition, strong competition, 
a healthy balance of quality between a 
wide number of selling organizations. 


Competition always demands a return to 
basic principles. And the foundation of 
picture merchandising for big grosses 
is in the thought : 

“The big picture deserves big advertis- 
ing.” 

* * * 

The Chicago Tribune, in the course of a 
soundly constructive series of merchan- 
dising talks, has expressed the thought 
in a clear-cut picture. 

The Tribune says: 

TO MAKE AN AIRPLANE FLY 

— it is necessary to move it at a high speed. It will 
“taxi” over the field at 35 miles an hour until it falls 
apart from old age, yet never leave the ground. The 
propellers may revolve millions of times. Thousands of 
gallons of gasoline may be consumed. Construction may 
be perfect. The ailerons may be properly set for flight. 

The pilot may be an expert. The weather may be 
splendid. BUT unless the machine is driven at a speed 
in excess of 40 miles per hour it will never leave the 
ground, AND unless it is maintained at a speed in excess 
of 40 miles per hour it will fall. 

ADEQUATE ADVERTISING is in a similar manner 
essential to advertising success. Copy must be adequate 
in size and in frequency, and the circulation given it 
must be sufficient. The attitude of many advertisers is: 
“How LITTLE space can I purchase and get by?” 
when it should be: “How MUCH space can I purchase 

profitably?” It is always difficult to estimate how 
SMALL an amount of advertising can be considered ade- 
quate. Believing that a concrete, up-to-date example 
of what is adequate advertising may be of value. The 
Tribune presents herewith the story of an advertiser 
whose copy and medium were adequate to raise him out 
of the common herd and to keep him above their level. 

Summing it up : 

“The big picture deserves big advertis- 
ing.” 

It deserves advertising in the place 
where the exhibitor shops — the trade 
paper. 

And the trade paper that can come to 
you on the solid foundation of circula- 
tion value, reader interest, and READER 
CONFIDENCE. 

Moving Picture World’s reader confi- 
dence has been held secure since 1907 — 
it has circulation that you can count, and 

also weigh. 


Robert E. Welsh 


September 2, 1922 


MOVING PICTURE WORLD 


21 


JLTic ture e Ihat's Different! 

Louis B- Mayers presentation 
of the inimitable star 

Anita Stewart 

“Rose o' the S ea” 



The Exhibitor s Herald 
says — 

“The story has several 
novel twists and the 
outcome of the love 
affairs lends convic- 
tion to the story. Miss 
Stewart does good 
work throughout and 
is given able assist- 
ance.” 

Your Audiences 
Are Ready Made 

Because millions have 
thrilled to this famous 
novel by Countess Bar- 
cynska. 

Scenario by Bess Meredith. 
Photographed by Dal Claw- 
son. 

Directed by Fred 
Niblo, director of “The 
Three Musketeers.” 


A First National 
Attraction 








22 


MOVING PICTURE WORLD 


September 2, 1922 



The 

Masauerade? 


Crowds lined up at ChicagoTheatre 

lpOO waiting in line 


forhox office to open 


“‘The Masquerader’ opened to the biggest Mon- 
day in the history of Chicago theatre, with 
thermometer registering 94 and terrific heat 
all day. Crowds lined up one hour before 
opening of box office. When we started to 
sell tickets we had at least 1,000 people waiting 
in line to get in. First time this happened in 
the history of any of our theatres in Chicago. 
Picture a sensation.” 


Richard Walton Tully 


presents a picture made famous by 
six years’ road showing to record 
crowds in every city, town and hamlet. 

Taken from the novel by Katherine Cecil Thurston and 
the play by John Hunter Booth. 


Directed by James Young 


One of the Few Pictures Held for 
Second Week’s Run at N. Y. Strand 

A First National Attraction 



Moving" Pictnre 

WORLD 

I Cant Get Excited— 


THE HEW YORK 
PU3LU 



Founded 1907 
by J. P. Chalmers 


Over a Number 
of Things 

One of them is the idea that the sort of adver- 
tising carried in the trade papers of this business 
is all wrong. 

There is ad copy and ad copy, a time and a place 
for every variety of appeal. 

The critic who makes the general charge that 
“Advertisers are not properly utilizing their trade 
paper space” is merely allowing his prejudice to 
run too strongly towards one particular manner of 
merchandising in type. 

There are times when “service” advertising is 
good advertising, when announcement copy, per- 
formance copy, institutional copy have their place. 

But so long as advertising remains SELLING, 
and each picture production presents a different 
sales problem — just so long will it be as impossible 
as it is foolish to lay down one man’s rules of adver- 
tising to cover an entire field. 

* * * 

Nor Can I 
Get Excited — 

Over the reiterated statement that “There are too 
many trade papers in this field.” 

Maybe there are. But it is nothing to get excited 
about and hold brass band rallies over. 

Many thousand years ago Mother Nature gave 
first proof that whenever there was too much of 
any one thing at one time — she took the situation 
in hand. 

There are not too many trade papers in this field. 

For this one reason, if for no other: 

No one trade paper in the field is yet delivering 
the hundred per cent, of ultimate possible service. 
And it is only through COMPETITION, the appli- 
cation of continued effort to avoid Nature’s selec- 
tive axe, that the ultimate trade medium will be 
evolved. 

Competition alone makes for all progress. 

Any moment that we agree that there is no room 
for further progress in picture trade papers — then, 
and then only, will it be possible to say that the 
tail-enders in the field constitute the “too many” 
that we are now asked to get excited about. 


Strange as 
It May Seem — 

I can’t get excited over the idea that every time 
Mr. Hays turns around it should be the occasion 
for pages of trade paper space and columns of news- 
paper publicity. 

Mr. Hays is doing a big job, and in a big way. 
He has every bit of our admiration. He is doing 
far better work than we, personally, ever expected 
any man to accomplish in this field. 

But isn’t it very possible that we can overdo the 
publicity? 

Every time a newspaper reader lets his eye glance 
over a Hays headline he says, “Oh, yes, that’s the 
fellow who is going to CLEAN UP the movies.” 

It is barely likely that we are going to reach the 
day when we will be continually advertising the 
fact that we are the industry that is being 
CLEANED UP. 

And it is going to be mighty hard to step forth 
some bright morning and convince the world that 
“We are now completely CLEANED UP.” 

For, such is the way of life, it is very probable 
that we won’t look any different than we do today. 

* * >k 

I Can’t Get 
Excited — 

Over the idea that once a week a trade paper 
editor ought to deliver a ponderous long-winded 
sermon on Confidence, Co-operation, Good Will 
Toward Men, Ethics and the Life Hereafter. 

The church is losing its hold because ministers 
are forced to deliver a SERMON once a week. 
Film men stopped reading trade paper editorials 
when they stopped talking about films and began 
to PREACH. 

So, if I occasionally chat “across-the-table” 
fashion as I do this week — set it down to this fact: 

I don’t like sermons. 

No more than you do. 



24 


M O V I X C 


PICTURE WORLD 


September 2, 1922 


Editorial Personalities 


Feel all chipper and gay this week over 
our new dress. We don’t feel a bit bashful 
about saying it. Nor about telling you that 
this is only the first step. Got lots of good 
things up our sleeves that the next few 
weeks will disclose. Admit they are good. 
Know you will agree. Nor do we feel a bit 
commercial in advising that you are miss- 
ing something any of these weeks that your 
ad copy does not appear in Moving Picture 
World. Say that without the slightest strain 
on our modesty. Would like to take you in 
the Circulation Department to see the proof. 
Any day you say. We’re stepping, boys — 
stepping fast. 


There’s an ad on Page 19 of this 
issue that only occupies a page but 
says so much in that space that you 
can spend half an hour talking about 
it and the thoughts it prompts. 

Turn to it now and look it over. We 
don’t care if you forget to come back 
to this page. You’ll find it a blamed 
sight more interesting than anything 
we can say. 

“Service” in this field is a word with 
a wealth of meanings. And some of 
its meanings don’t mean anything. 
But there are some thousands of ex- 
hibitors in this country who won’t 
need second glance to know what 
Vitagraph means in this ad when it 
says “Service : And twenty-eight ‘rea- 
sons why’ for Vitagraph service.” 
Twenty-eight branch managers whose 
terms of service show that they are 
part and parcel of Vitagraph — not here 
today and gone tomorrow. 

Three managers in continuous serv- 
ice over seven years, six over six years, 
five over five years — and so on. 

One popular complaint with the av- 
erage small town manager is that he 
never gets to know with whom he is 
dealing at many exchanges. “Just 
when the manager gets to know my 
desires, my territory and local condi- 
tions so that he can really help me,” 
says the exhibitor, “he is moved on and 
some newcomer from the other end 
of the country hangs his hat in the 
office.” 

More than once we have been in ex- 
changes where the average exhibitor’s 
greeting was, “Well, who’s the man- 
ager today?” 

That doesn’t make for service, nor 
efficiency. 

And when we see a record that tells 
the opposite story we just naturally 
feel like standing up and cheering. 

Got other reasons for feeling proud this 
week. Our daddy, the Chalmers Publishing 
Company, just issued the fourth edition of 
Richardson’s Projection Handbook. One 
thousand pages of solid meat. A publishing 
monument that will stand for years in the 
technical field. Of interest to you if you 
never saw a projection machine, as a sign 
of the resources, strength, courage, experi- 
ence and knowledge back of our plans for 
Moving Picture World. Even at the risk of 
being called shrinking violets we are going 
fo repeat the thought in the bold face above: 
“Watch our smoke.” 


New York’s weather had its first 
“break” in favor of the theatres last 
Sunday and the results showed what 
picture patrons are ready to do this 
Fall if they are tempted with real 
goods. 

Our good old friend, the “turnaway,” 
is back with us. And the funny part 
about his return to New York is the 
fact that he chose a week when “hold- 
overs” were on at every house except 
the Capitol, which presented A1 Licht- 
man’s “Rich Men’s Wives.” 

“Blood and Sand,” which had been 
achieving the miracle of beating some 
of the worst heat New York ever had, 
was opening for its third week at the 
Rivoli and its first at the Rialto, seven 
blocks south. But the early week 
crowds would have made you think it 
was the first opportunity on earth to 
see a long awaited production. 

Joe Plunkett, of the Strand, held the 
First National special, “The Mas- 
querader” over for the second week 
and recorded one of the biggest Sun- 
days in the history of the house. The 
Capitol, we are told, showed “Rich 
Men’s Wives” to something like 18,- 


Movinsr Picture 

WORLD 

PUBLISHED WEEKLY BY 
CHALMERS PUBLISHING COMPANY 

516 Fifth Avenue, New Fork City 
Telephone: Murray Hill 1610 
Branch Office: 

Chicago, 2s East Jackson Boulevard 

John F. Chalmers, president; Alfred J. Chal- 
mers, vice-president; James P. Chalmers, Sr., 
vice-president; Eliza J. Chalmers, secretary 
and treasurer, and Ervin L. Hall, business 
manager. 

Editorial Staff: Robert E. Welsh, editor; 

John A. Archer, managing editor; Epes Win- 
throp Sargent, exploitation; F. H. Richard- 
son, projection; E. T. Keyser, equipment; 
Fritz Tidden, reviews; Roger Ferri, indepen- 
dent productions, C. S. Sewell, producers news 
and A. Van Buren Powell, Straight from the 
Shoulder Reports. 

Manager of Advertising: Wendell P. Mil- 

ligan. 

Manager of Circulation: Dennis J. Shea. 
Subscription price: United States and its 
possessions, Mexico and Cuba, $3.00 a year; 
Canada, $3.50; foreign countries (postpaid), 
$10.00 a year. 

Copyright, 1922, by Chalmers Publishing 
Company. 

Copyright throughout Great Britain and 
Colonies under the provisions of the Copy- 
right Act of 1911. (All rights reserved.) 

Other Publications 

Cine Mundial (Spanish). Technical Books. 



Member Audit Bureau Circulations. 
Member National Publishers Association. 


000 people at four full and one supper 
show. 

The “long run” houses did their 
share. “The Prisoner of Zenda” 
recorded the best business done at the 
Astor at $1.50 top, with a line out 
afternoon and evening. “Monte Cristo” 
registered a sell-out at the Apollo and 
“Silver Wings,” “Nero,” and “Forget- 
Me-Not” all got a good play. 

New York doesn’t speak for the 
country. In this matter as well as 
many others. But the signs of the 
times were interesting. And unless all 
signs fail there is a hungry fan pati on- 
age just waiting the urge of cool 
weather and good pictures to flock 
back to the theatres. 


Just seems as though we have to talk 
about ourselves in this week’s boldface. 
Back to the Projection Handbook. The av- 
erage New Yo:k film man may think a thou- 
sand page projection text book and a 
weekly projection department is just “one 
of those things.” In the next breath he will 
probably tell you, “One of the big problems 
of this business is to devise more and more 
means of helping the small exhibitor.” If 
he puts the two thoughts together he will 
probably understand the tight hold that 
Moving Picture World has had on thou- 
sands and thousands of small exhibitors 
since 1907. “Who had no other paper in 
their early days and need no other now.” 
That same projection department — the only 
one in the field — is also doing its share to 
make money for the business in the big the- 
atres by making the satisfied patrons that 
better projection creates. 


Harry Rapf, writing from Los An- 
geles with a word of congratulation 
for our “September” campaign, adds 
these words : 

“Let me say from where I sit that 
I am seeing a lot of productions made 
out here and intended for release dur- 
ing the coming season. And they are 
so far ahead of last year’s product that 
you can’t get too enthusiastic over 
what they are going to mean to the 
exhibitors’ box offices. 

“This is going to be a whale of a 
season because we have the pictures 
that will stimulate the public’s inter- 
est again. You are right when you 
say that last year’s slump was in large 
part due to the fact that the public 
got tired of the stamp and type of 
pictures producers were presenting. 
But add this thought — that the pic- 
tures being shown at pre-views out 
here now are certainly going to cause 
a revival of interest.” 

We can say that Harry and the War- 
ner Brothers are doing their own 
share in the general good work. The 
latest bit of news we have is that Sid- 
ney Franklin has been engaged to 
direct “Brass.” 

That’s a capture for the independent 
market made possible only by the 
Talmadges’ trip to Europe and the in- 
tervening time it allowed Franklin to 
use his talents elsewhere. 


September 2, 1922 


MOVING PICTURE WORLD 


25 


California Theatre Owners and 
Exchangemen Join Hands 

Plans for Betterment of Industry Are Drawn Up at Meeting 


A CO-OPERATIVE convention at- 
tended by more than 150 ex- 
hibitors, exchange men, pro- 
ducers and supply men from the 
Northern California field was held at 
the Palace Hotel, San Francisco, on 
August 15. Complete harmony pre- 
vailed between the various interests 
and definite plans were made for the 
immediate organization of a perma- 
nent body to embrace all branches of 
the business. 

P. J. Hanlon, of Vallejo, called the 
convention to order, after the dele- 
gates had been filmed by a Pathe 
cameraman, and stated it had been 
called to bring all the elements of the 
business together for co-operative 
work. In speaking of the decrease of 
business he declared that the reasons 
had been charted by experts in the 
amusement field and that they had 
found that 35 per cent, was due to un- 
wholesome publicty, 40 per cent, to the 
industrial situation, and 25 per cent, to 
poor productions. 

• A committee of three, consisting of 
W. W. Kofeldt, chairman, Robert Mc- 
Neil and J. A. G. Schiller, was ap- 
pointed to outline the order of busi- 
ness for the convention and while 
these members were absent from the 
room, Glen Harper, vice-president of 
the M. P. T. O. A. told of valuable 
concessions obtained for California 
exhibitors from the electric power 
companies, and advised that all the- 
atre owners could now get a power 
rate for all current used in operating 
rooms. 

The committee recommended the 
selection of a convention president, 
vice-president and secretary ; the ap- 
pointment of a publicity committee of 
two ; the formation of a permanent or- 
ganization to improve conditions, to 
combat un-American reforms, to co- 
ordinate the different branches of the 
business and fight adverse legislation, 
and the appointment of a committee 
to undertake campaign against wide- 
spread publicity for divorces and other 
sensations in the moving picture in- 
dustry. It was suggested that a com- 
mittee of nine be appointed to make 
arrangements for forming the new 
organization, to select a name, draw 
up a constitution and by-laws and plan 
its financing. 

Frank R. Devlin, former chairman 
of the State Railroad Commission, and 
recently appointed general counsel 
and advisor for the Motion Picture 
Theatre Owners of Northern Cali- 


fornia, was chosen convention presi- 
dent ; P. J. Hanlon was chosen vice- 
president, and Thomas D. Van Osten, 
secretary. 

The chair at once appointed a pub- 
licity committee consisting of W. Har- 
old Wilson and Thomas D. Van Osten, 
as well as a committee to call upon 
newspaper publishers in an effort to 
have them cease giving undue notor- 
iety to picture stars. This committee 
consists of Charles Thall, of Asso- 
ciated First National; Wayland Tay- 
lor, of Famous Players, Thomas D. 
Van Osten and Harold Wilson. 

A committee on permanent organ- 
ization was appointed, as follows : W. 
W. Kofeldt, W. A. Crank, Morgan 
Walsh and E. H. Emmick, represent- 
ing film exchange interests ; Robert 
McNeil, M. L. Markowitz, H. L. Beach 
and T. C. Reavis, representing exhi- 
bitors, and Paul Gerson, representing 
producers. With the appointment of 
this committee the convention ad- 
journed, but the committee at once or- 
ganized by electing Morgan Walsh 
temporary chairman and held an open 
session for an hour. 

Assemblyman Edgar S. Hurley, who 
introduced the censorship bill at the 
last Legislature, was called upon and 
explained that he had introduced the 
measure by request and that when he 
learned how widespread its effects 
would be he took the steps which re- 
sulted in its being tabled. Assembly- 
man Morris backed up the statement 
of his colleague, as did also Louis R. 
Greenfield, a prominent exhibitor of 
San Francisco, who had been a mem- 
ber of the committee sent to the State 
Capitol by the Allied Amusement In- 
dustries of California to secure the 
defeat of the censorship bill. 


“Looks Good ” 

October breezes tempered the 
force of a warm sun last Sunday 
and crowds of people took advan- 
tage of the let-up in the stifling 
weather to attend the New York 
picture theatres. Packed houses 
were the rule Sunday evening in 
the neighborhood theatres as well 
as along Broadway. Picture men 
wore broad smiles. “Well,” re- 
flected one, “perhaps I have been 
a bit pessimistic about the future. 
Cool weather tonight, much busi- 
ness; gee it looks good!” 


C. C. Griffin, of Oakland, spoke on 
the need of the small town exhibitor 
for affiliating with an effective organ- 
ization and outlined some of the bene- 
fits enjoyed by members of the M. P. 
T. O. A. 

A novelty was added in the presen- 
tation of a large cartoon by the man- 
ager of the Wigwam Theatre. This 
was entitled : “Watch Your Step,” 

and represented the exhibitor, pro- 
ducer, director and stars, passing be- 
fore the close scrutiny of a censor 
board. 

The convention was brought to an 
end by a brilliant banquet in the eve- 
ning at which Rupert Hughes, the 
author, was toastmaster. Frank R. 
Devlin was the guest of honor and the 
keynote of the speeches was harmony. 


No More“ Jazz Time” 


Washington, D. C. Exhibitors Win 
Fight Against Daylight Saving. 

The amusement interests of Wash- 
ington, D. C., have won their fight 
against the “jazz” form of daylight 
saving which was inaugurated by 
Presidential order last June, and when 
the city returns to its old plan of do- 
ing business on September 5 it will be 
with the knowledge that the experi- 
ment will never be repeated. 

Failing to secure legislation from 
Congress in the spring permitting the 
turning forward of the clocks, a con- 
ference of. business men and Govern- 
ment officials was held as a result of 
which President Harding issued an 
order that the Government depart- 
ments would open and close an hour 
earlier each day. The stores of the 
city tried the plan out at the same 
time, but the amusement places stead- 
fastly refused to be a party to the 
agreement. 


George Schmidt Dies 

After an illness of several weeks, 
George Schmidt, manager of the 
Strand Theatre, Atlanta, died August 
21. He was a native of New Castle, 
Ind., and following the funeral serv- 
ices his body was sent there for inter- 
ment. For the past six years he had 
been a resident of Atlanta. He was 
prominent in motion picture circles and 
was a Shriner. 


26 


MOVING PICTURE WORLD 


September 2, 1922 


More Letters on “Show You" Month 


I ’LL say we agree with the editorial of your new editor,” writes Milt Samis, of the California Imperial Granada 
and Portola Theatres, San Francisco. “We agree with him to such an extent that we are putting on the very 
same campaign that he is advocating for all exhibitors — and the only difference is in the wording of our slogan. 
“We are letting this old town know that ‘Greater Mov ie Season Starts on August 20/ We started out two weeks 
ago by teasing them a little bit on our screens, in our lobbies and with 300 three-sheets, with the words: ‘It 
Starts August 20/ And now we are letting them in on it with automobile banners, our screens, our lobbies, our 
billboards and a dozen new and different ways. We are selling them the idea that they are going to see the greatest 
series of photoplays that have ever been released. 

“Oh yes, I almost forgot two of the most important things we are doing. One of them is an edition of 30,000 
de luxe booklets of sixteen pages, each designed to sell our entire organization and the first ten pictures we are to 
show. The other is a third of a page ad which we are running in every daily paper in San Francisco.” 

“In the Moving Picture World of August 12,” writes C. A. McFarland, city manager of the Queen Theatre, 
Houston, Texas, “I read the page ‘September’ signed by Mr. Robert E. Welsh. I immediately tore this page from 
the magazine and read it again. I got several ideas from it for readers in papers as well as ads. I thought I 
would write you a short letter, telling you that this is one worthwhile article and you deserve a lot of credit for 
the idea. I only hope you will be able to help us often in the future. I am strong for such ideas as ‘September/” 
Jimquin, who certainly needs no introduction, writes a short, snappy letter from California, as follows: 

“If getting behind that idea doesn’t prevent an encore of last September mourn, then we’d better flop on our 
knees and beseech everyone in the high heavens to drop their harps and come running to our rescue.” 


Theatre War Ended 

Combination Puts End to Competition 
in Eastern Canada 

An interesting development has 
taken place at Hamilton, Ontario, 
where announcement was made Au- 
gust 4 of the amalgamation of the 
Loew and Pantages theatres into one 
company, the Hamilton United The- 
atres, Limited, which will operate both 
houses jointly under one management. 
The move is significant in that it prob- 
ably marks the end of the “war” in 
Eastern Canada between Marcus Loew 
and Alex. Pantages. The desirability 
of uniting the two theatres has been 
considered for some time, it was an- 
nounced, and under the one control, 
it is stated, a very large saving will 
now be effected in operating costs. 
The theatres, both of which are prac- 
tically new, are in the one block and 
there had been fierce competition. No 
word is yet divulged as to policies. 

In the new company, Pantages in- 
terests will hold preferred and com- 
mon stock amounting to $1,087,000. 
Loew’s will hold stock to the value of 
$900,000. It is understood that N. L. 
Nathanson of Toronto, managing di- 
rector of Famous Players Canadian 
Corporation and of Regal Films, Lim- 
ited, is also directly interested in the 
amalgamation. 


Brinch Resigns 

P. N. Brinch resigned from the posi- 
tion of manager of exchanges for the W. 
W. Hodkinson Corporation, effective 
August 21. Before making any new af- 
filiations he will take a long vacation at 
his country home in Pelham, N. Y. Mr. 
Brinch has been associated with W. W. 
Hodkinson either directly or indirectly 
for thirteen years, beginning with the 
General Film Company. 


Patterson to Marry 

Miss Anna Eugene Aiken and Willard 
C. Patterson, of Atlanta, Ga., have an- 
nounced their engagement, the marriage 
to take place early in September. 

Both are known nationally for their 
film work, Miss Aiken being the pub- 
lisher of the Weekly Film Review, and 
Mr. Patterson being manager of the 
Metropolitan and Criterion Theatres in 
Atlanta. 


Louisville Optimistic 


Business Picking Up with Cooler 
Weather — Ten Cent Experiment 
by Savoy 

Louisville, Ky., Aug. 21. — Things have 
been quiet of late as a result of hot 
weather and the vacation season, but it 
is reported that the business now is just 
a little better than it has been. Ma- 
cauley’s Theatre, which has been running 
stock all summer, closed last week and 
will be dark until the opening of its regu- 
lar season. Incidentally, stock took well 
here for the first time in some years. 
The parks and outdoor amusement com- 
panies haven’t much longer to run. 

The old Buckingham Theatre, formerly 
a burlesque house, later the Jefferson as 
a picture and vaudeville house, after be- 
ing dark for some months, has opened 
as the Savoy, with pictures and vaude- 
ville, at 10 cents. C. B. Blake, the Blake 
Amusement Company, is operating the 
house. A musical comedy cast in mina- 
ture, with eleven persons, and good 
music, was on the first week’s bill. 


New Theatre Opens 

The Strand Theatre, Niagara Falls, 
N. Y., will open to the public Saturday 
evening, August 26. The house is under 
the direction of the Cataract Theatre 
Corporation, A. C. Hayman, president. 


Less Films Censored 


Year’s Violations Net Pennsylvania 
Censors Just $370 

According to the statement of the 
Pennsylvania Censorship Commission 
only twenty-six prosecutions for viola- 
tions of the censorship law were 
recorded in the Quaker State during 
the year ending June 1. These viola- 
tions netted the state only $370. This 
record compares remarkably with 
that of four. years ago when 169 pros- 
ecutions were effected. 

A material reduction in the number 
of subjects disapproved also was 
shown. Here are some of the figures 
embodied in the report : 4,402 orig- 

inal subjects and 11,282 original reels, 
physically examined; 10,670 subjects, 
including duplicates, and 17,742 reels, 
including duplicates, approved; 4,544 
subjects and 18,336 reels modified; 
29,868 eliminations, eighteen subjects, 
and seventy-one reels disapproved. 

Total collections for the fiscal year 
ending June 1 were fixed at $95,638 
for examination of original and dupli- 
cate reels, and $3,750 for the issue of 
substituted approval reels. The ex- 
penditures were itemized as follows : 
Contingent and travelling, $9,090.48; 
salaries of members, $10,200, and 
salaries of employes, $60,381.60. 


Tax Free Music 

The music department of the Motion 
Picture Theatre Owners of America is 
sending a questionnaire to exhibitors as 
to the musical status of their theatres. 
The department says it is in a position 
to supply exhibitors with an excellent 
variety of tax free music. 

On request to its offices at 132-136 W. 
Forty-third street, New York, it will 
supply exhibitors with lists, catalogues, 
professional copies and orchestrations. 


September 2, 1922 


MOVING PICTURE WORLD 


27 


West Coast Fire Chiefs Urge Use 
of a Slow-Burning Film by 1925 


T HE Pacific Coast Association of 
Fire Chiefs, which met in con- 
vention at San Francisco just 
before the gathering of the Interna- 
tional Association of Fire Engineers, 
whose opening session was held on 
August 15, devoted a considerable por- 
tion of its time to a discussion of the 
fire menace arising from the use of the 
present type of moving picture film. 

Resolutions were passed character- 
izing the film now in use as a menace 
to life and property and urging the 
adoption of a film of cellulose acetate. 
It called upon federal, state and munic- 
ipal government to take proper steps 
to prohibit by law the use of nitro- 
cellulose film on and after January 
1, 1925, the date being the same as 
that set by Paris, France, for a similar 
prohibition. 

The resolution included the follow- 
ing: “In view of the availability of 

a safe film, the present expensive bur- 


The Ontario Fire-Fighters As- 
sociation adopted a resolution at 
its recent annual convention con- 
demning the moving picture indus- 
try for not adopting slow- burning 
film for all picture prints. 

The Canadian Motion Picture 
Distributors Association replied 
that producers are anxious to use 
safety film but the latter is yet in 
its early stages of production. It 
was also argued that sufficient 
safeguards are already in use in 
theatres. 


den of inspection, regulation and sur- 
veillance of moving picture displays 
placed by the moving picture industry 
upon public fire and safety depart- 
ments is unwarranted and indefensible, 
and it is the moral duty of this in- 


dustry to adopt at once in the produc- 
tion of all new pictures the exclusive 
use of the slow-burning film.” 

Frank Wentworth, of the National 
Fire Protection Association, was a 
prominent figure in the discussion and 
recited the history of the movement 
for safe film. He answered many 
questions as to the cause of film fires 
and explained the differences in de- 
gree of fire danger from various kinds 
of film. 

“If we can get safe films into uni- 
versal use,” he said, “we need not 
worry about film fires, and every 
country that takes this step will help 
every other country to stamp out this 
danger.” 

He declared that producers would 
doubtless object to the adoption of the 
new type of film as it would cost three- 
quarters of a cent a foot more than 
the present style. 


Country Becoming Aroused 
Against Blue Sunday Fanatics 


T HE fight against Blue Sunday 
advocates is well under way 
throughout the country. It is 
more than probable that before many 
days elapse the Motion Picture 
Theatre Owners of America will 
create a department which will make 
it its business to handle this campaign. 
In many instances the theatre men 
are getting the backing of the local 
authorities. Particularly is this true 
in Ohio, Wisconsin, Minnesota, 
Michigan, Kentucky and Georgia. In 
fact, in many cases Ohio authorities in 
retaliation for the determined and 
repulsive insinuations made by the 
fanatics have put down the lid on choir 
singing and forced work of any sort 
to be stopped. 

The action of the Ohio authorities 
in Ohio cities and towns in issuing 
orders making it illegal for profes- 
sional choir singers to work on Sunday 
has aroused the fanatics. Neverthe- 
less, this action is having the tendency 
of awakening some of these advocates 
to the absurdity of their own demands 
for an “absolutely quiet Sunday.” 

In Michigan and Minnesota the 
authorities, in many instances, have 
made it plain that if the public can- 
not enjoy picture entertainment at 
regular picture houses, the churches 
cannot hold entertainments of any sort 
on the Sabbath. This step, too, has 


aroused the Blue Sunday advocates 
there, who in a number of cases are 
prepared to offer compromises, but 
these offers are being flatly turned 
down by the exhibitors. 

It is known that a new campaign 
to close every house in New Jersey 
will be started next month. The Gov- 
ernor has been served notice and re- 
plied that he will close everything, 
and, “of course, that means that there 
shall be no singing by professional 
choir singers, and no picture shows 
staged under the auspices of any 
church under any circumstances,” he 
added. 

In desperation the New Jersey 
fanatics, according to those in a posi- 
tion to know, will go to Trenton next 
winter with a resolution making it 


WHAT 

IS THE WEIGHT 

of the new 

HANDBOOK OF 

PROJECTION 

? ? ? 

• • • 

Two Pounds — One Ounce 


possible for churches to give motion 
picture entertainment for churchgoers 
on Sunday nights. This resolution 
will be vigorously opposed by the 
business men and the Motion Picture 
Theatre Owners of New Jersey, ac- 
cording to President R. H. Woodhull, 
of Dover, N. J. 


Here’s a New One 

An amended answer has been filed 
with the Federal Trade Commission by 
the Northwest Theatres Company, of 
Missoula, Mont., named in a former 
complaint issued by the commission, 
in which it was charged with accepting 
mail-order catalogues for admission at 
the instigation of business men at 
Missoula and thereafter burning the 
same, a method of unfair competition 
against mail-order houses. 

The Northwest Theatres Company 
denies that it conspired with the 
Chamber of Commerce, of Missoula, 
or with any other organization or 
person to hinder or prevent any person 
or corporation carrying on business 
outside Montana from selling goods 
upon mail orders. 

If there has been any violation of 
Federal laws by the theatre company 
it has been the result of ignorance, in- 
advertence and mistake, the answer 
further states. 


28 


MOVING PICTURE WORLD 


September 2, 1922 


As Harry Brouse Sees It 


Harry Brouse, 
First National Fran- 
chise Holder in 
Canada, owner of 
the Imperial Thea- 
tre, Ottawa, here- 
with presents his 
view on the outlook 
for the coming sea- 
son. His opinion is 
one of a series 
gathered by Asso- 
ciated First National 
Pictures, Inc. Writ- 
ing from the viewpoint of a Canadian. Mr. 
Brouse forsees an excellent season. 

Read: 

Present indications are that the coming 
season will be a great improvement over last 
year. All the trades unions have made long- 
term agreements in regard to wages and 
although the Civil Service bonus has been re- 
duced, it is not thought that this will cause a 
difference in the average civil servant’s expendi- 
tures on amusements. 

* * * 

I look forward with every confidence to the 
coming season for the above reasons and be- 
cause there will be a shortage of legitimate 
attractions for 1923. 


Rescind Order 


Foreign Actors Allowed to Make 
Films on John Bull’s Soil 

According to advices from London re- 
ceived at the New York office of Fox 
Film Corporation, English immigration 
officials have rescinded their order pro- 
hibiting Ann Forrest, the American 
actress, from participating in the produc- 
tion of the William Fox special, “If Win- 
ter Comes,” exterior scenes of which are 
being taken near Canterbury. 

Announcement of the bar placed by 
English authorities against the importa- 
tion of foreign actors to play in pictures 
being made in England came in cable dis- 
patches last week. Miss Forrest, who 
went to England to play “Lady Tybar” 
in the famous H. S. M. Hutchinson 
novel, fell under the ban which appar- 
ently resulted from a misconstruction of 
the embargo arising under a provision 
of the immigration act. This provision 
prevents the importation of any labor 
which Britishers are qualified to fill. Ac- 
cordingly it was urged that film stars 
came under this prohibition and were 
likely to be smacked officially or placed 
under quarantine and then sent home. 


WHO JUST ORDERED 

100 copies of the new 

HANDBOOK OF 

PROJECTION 

? ? ? 

THE U. S. NAVY 


Conditions are gradually returning to nor- 
malcy in this territory. The better productions 
are attracting the public, particularly screen 
adaptations of widely read stories, which seems 
to prove that the public are displaying a greater 
discrimination in its selection of entertainment. 
* * * 

In regard to the reduction in admission 
prices as proposed in some Canadian territory 
as a stimulant to greater attendance, we find 
that this lowers the prestige of theatres show- 
ing the better attractions, with the resultant 
dropping off of their regular patronage. 

* * * 

Two local theatres, in which prices were 
reduced several months ago, are in no better 
position today and are contemplating a return 
to their usual scale. This would seem to justify 
our argument that the average photoplay fol- 
lower will gladly pay the present scale of admis- 
sion prices providing the quality of entertain- 
ment now provided is maintained or improved 
upon. 

* * * 

In our territory “The Child Thou Gavest 
Me” and “The Rosary” have been among our 
best attractions in the feature line. In comedies, 
Chaplin has led, with Buster Keaton and Mack 
Sennett also in the running. Comedies are 
showing an improvement. There is better pro- 
duction and more attention to detail. 


To Sell Circuit 

Arrangements Made to Dispose of 
Empire Chain for $650,000 

Indications are now that deeds soon 
will pass, completing the sale of the 
thirteen New England moving picture 
theatres which were found to be 
among the assets of the closed Cos- 
mopolitan Trust Company of Boston 
when that institution was taken over 
by the Bank Commissioner of Massa- 
chusetts. 

The above statement officially con- 
firms the exclusive announcement pub- 
lished in Moving Picture World five 
weeks ago. Since that time every 
statement published exclusively by 
Moving Picture World relative to the 
situation has been confirmed. 

Bank Commissioner Allen has just 
petitioned the Supreme Court for per- 
mission to dispose of these playhouses, 
known as the Empire Circuit, and is 
completing plans for their sale for 
$650,000. 

The theatres, with their locations, are 
as follows : Strand, Portland, Me. ; 

Strand and Premier, Newburyport, 
Mass.; Strand, Amesbury, Mass.; 
Central Square, Waltham, Mass.; 
Bijou. Empire, Nickelodeon, Rialto, 
Fall River, Mass.; Colonial, Bijou, 
Strand and Opera House, Newport, 

The notes of the various corpora- 
tions owning these theatres, the com- 
missioner says, were among the assets 
of the Cosmopolitan Trust Company 
at the time its affairs were taken over 
by the State. Since that time the 
commissioner has acquired as collat- 
eral security all of the stock in most 
of the companies. 



Praises Exhibitors 


Australian Comes Here to Study U. S. 

Exhibitor Methods 

A firm conviction that American ex- 
hibitor methods are the foremost in 
the world, attracted L. S. Snider, of 
Associated Theatres, Pty., Limited, to 
the United States and he is now on 
tour studying the methods which 
American exhibitors employ. 

Besides the attractive way that pic- 
tures are “put on” here with elaborate 
prologues and the widespread ex- 
ploitation that goes with them, Mr. 
Snider was profuse in his praise of the 
picture theatre. 

Mr. Snider’s organization controls 
thirty theatres in Melbourne and 
vicinity, and cooperates with the 
Union Theatres, Electric Theatres and 
J. C. Williamson Films, powerful or- 
ganizations in the Antipodes. The 
New Malvern in Melbourne is the 
newest of the Associated Theatres’ 
houses, having been built about a year 
ago. It has a seating capacity of 2,500, 
and is one of the finest moving picture 
theatres in Australia. J. Bryson, gen- 
eral manager of the Universal Ex- 
change in Australia, is an ardent 
“booster” of the New Malvern, Mr. 
Snider says, and was so favorably im- 
pressed by the plans along which the 
house was built that he has a large 
picture of it in his office which he ex- 
hibits to visitors as Australia’s most 
up-to-date show place. 

Mr. Snider says that exhibitors 
never experience any trouble in Aus- 
tralia in locating their theatres in any 
neighborhood, no matter how exclu- 
sive it may be, but on the contrary the 
people welcome the movies with open 
arms and even offer special induce- 
ments for building in certain locations. 
The highest admission price for spe- 
cial run features is about 78 cents in 
United States money, Mr. Snider said, 
while the average admission price in 
neighborhood and suburban theatres 
runs from 18 to 36 to 54 cents. 


Makes Counterclaim 

Application to remove the trial of the 
suit brought by the United Artists Cor- 
poration against Malcolm D. Gibson, 
owner of the Mozart Theatre, Elmira. 
N. Y., from New York to Chemung 
count}', where Elmira is located, was 
made to the New York Supreme court on 
behalf of Gibson. 

The suit is the result of a contract 
made with the plaintiffs by Gibson for 
the exhibition of “Way Down East.” 
Gibson alleges that the plaintiff sent him 
a broken, brittle and defective print 
which could not be used, and that the one 
sent in its place was no better. The re- 
sult. he alleges, was that his business fell 
off fully one-third, wherefore he sets up 
a counterclaim for Sd.tXX) damages. 


September 2, 1922 


MOVING PICTURE WORLD 


29 


Review of Tariff Bill Provisions 


T HE following is a review of the tariff bill as passed by the Senate on August 19, together with comparative 
rates as previously passed by the House, covering items of interest to the motion picture industry: 


Senate House 


Photographic cameras and parts thereof not specifically provided for 20% 30% 

Photographic and moving picture films, sensitized but not exposed or developed 20% 

Standard width of 1% inches, per linear foot, other widths in proportion 4/10c. .... 

Photographic film negatives, per linear foot — 

Exposed but not developed 2c. 30% 

Exposed and developed 3c. 30% 

Positives, including prints or duplicates, per linear foot lc. 30% 

Films or negatives taken from U. S. and exposed in a foreign country by an American producer 

in making a picture of which 60% or more is made in U. S 25% 

Per linear foot lc. .... 

Electric light carbons 45% 35% 

Incandescent electric lights, bulbs and lamps, with or without filaments 20% .... 

Photographic and projection lenses 45% .... 


All rates based on percentage are ad valorem and as provided by the Senate are to he based on foreign valua- 
tion of the commodity, while House bill provides for assessment on American valuation. 


Hays’ Advice Asked 


Want Him to Say Which Films Are 
Indecent 

Members of the Motion Picture 
Theatre Owners of Western Pennsyl- 
vania have passed a resolution calling 
upon Will Hays to point out pictures 
-that, in his opinion, are not fit to be 
shown, thus relieving them of the 
necessity of playing those pictures. 
The resolution, as adopted, follows : 

Whereas, Will H. Hays, president of the 
Motion Picture Producers and Distributors 
of America, has in public speeches and 
newspaper interviews confessed that the 
companies represented in his association 
have produced and are now distributing 
photoplays of such a character as to be 
subversive of public morals, and 

Whereas, Mr. Hays has stated that such 
pictures should not be patronized, and 
whereas, Mr. Hays has stated that improve- 
ment cannot be expected until next year, and 
whereas, the public has no means of de- 
termining which of the pictures can be 
patronized with propriety. 

We, the Board of Directors of the Motion 
Picture Theatre Owners of Western Penn- 
sylvania, voicing the sentiments of our mem- 
bership as being unalterably opposed to the 
presentation of indecent pictures, 

Be it Resolved, That we hereby solicit 
Mr. Hays, whom we appreciate as a compe- 
tent judge of what is wholesome, moral and 
clean, to make public statements upon the 
pictures distributed by members of his or- 
ganization, informing the public which of the 
pictures measure up to the standard set by 
him and which do not, and 

Whereas, the motion picture exhibitor is 
compelled to buy his pictures before pro- 
duction and has no means of determining 
which of the pictures are fit to be shown, 
and whereas contracts contain what is 
known as the non-cancellable clause, be it 
further resolved that we hereby solicit Mr. 
Hays to secure for us cancellation of con- 
tracts for pictures which, in his opinion, 
should be condemned. 


ristian Associa 


avs Headquarters will keep ther 
: vned at all times as to the cons 
e work being done by the prodt 
d distributors looking toward 


N e w F uel Committee 


Exhibitors Seeking to Secure Suffi- 
cient Coal for Winter 

Exhibitors throughout the country 
are organizing local committees to 
cope with a possible shortage in fuel. 
The Theatre Owners’ Chamber of 
Commerce, of New York and Northern 
New'- Jersey, has formed such a com- 
mittee, including Billy Brandt, Louis 
Blumenthal, Lee Brecker and Bernard 
Edelherz, w'ho during the past week 
w^ere in conference with the New York 
Committee on Fuel, recently named by 
Mayor Hylan, to make an arrange- 
ment whereby the theatres would be 
guaranteed a reasonable quantity of 
fuel next season. 

The Motion Picture Theatre Owners 
of America, through its national presi- 
dent, Sydney S. Cohen, is taking 
similar action. Through the national 
organization, the state units of the 
M. P. T. O. A. are sitting in with the 
fuel authorities throughout the 
country. While there is a threat that 
fuel will be scarce, the M. P. T. O. A. 
has been virtually assured that the 
theatres of the country will be 
properly taken care of. 


Unfairness Charged 

Says American Did Not Inform Public 
Films Were Reissues 

The Federal Trade Commission has 
issued a formal complaint against the 
American Film Corporation, a Virginia 
corporation, with its principal office in 
Chicago, charging unfair methods of 
competition in commerce in violation 
of Section 5 of the Federal Trade Com- 
mission Act. The complaint is very 
similar to that issued a few days ago 
in the case of the Fox Film Corpora- 
tion, and deals with the re-issue of 
films. It refers specifically to a num- 
ber of films released prior to 1919 
which, during the years 1919 and 1920, 
were again re-issued under new titles. 

The American Film Company has 
been given thirty days in which to file 
with the commission a written answer 
to these charges. 


To Reduce Prices 

A big reduction of the taxes on 
tickets to picture houses and “legiti- 
mate” theatres in Czechoslovakia is to 
be put in force beginning January 1, 
1923. The present taxes -are to be re- 
duced one-half. 


Establishes Branch 

Carl Laemmle, president of Uni- 
versal, who has been in Karlovy 
Vary, Carlsbad, recently visited 
Prague, Czechoslovakia, to establish a 
branch office of his company. Maxi- 
millian Stransky was put in charge. 


30 


MOVING PICTURE WORLD 


September 2, 1922 


Birchall Is Arrested 


Charged With Conspiracy to Defraud 
in Chemical Stock Deal 

A prominent theatre man, of 
Canada, was arrested at Toronto, 
Ontario, on August 16, when T. P. 
Birchall was taken into custody on a 
charge of alleged conspiracy to de- 
fraud, the amount involved being 
$60,000, it is said. Practically simul- 
taneously with the arrest was the raid 
which Toronto and Montreal detec- 
tives made on Birchall’s offices in 
Montreal when papers and documents 
that formed Amluable evidence, it is 
alleged, were seized. 

It is not in connection with the pro- 
motion of Loew interest that Birchall, 
president of Loew’s Canadian Theatre, 
has been arrested, it is understood, but 
that he was wanted in connection with 
stock transactions for Chemical 
Products, Ltd., having branches in 
several Canadian and United States 
cities, including New York and Tren- 
ton, N. J. Birchall was later released 
on bail. 


Grainger to Godsol 

James R. Grainger, one of the b< 
known men in the motion pictur 
business, has been made persoi 
representative of F. J. Godsol in t ;c 
sales department of Goldwyn Dist 
buting Corporation, of which M 
Godsol is president. On August 
Mr. Grainger started on a tour whic h 
will take him to every important pie 
ture center in the country. 

Mr. Grainger has been general 
representative for Marshall Neilan, 
who is now making pictures in asso- 
ciation with Goldwyn. Also, he has 
represented the Hearst interests in 
their association with Famous Players 
and in addition has represented 
Charlie Chaplin. 


To Hold Convention 

The Theatre Owners’ and Managers’ 
Association of Oklahoma, will hold 
its annual convention at the Skirvin 
Hotel, Oklahoma City, September 7 
and 8. A large attendance is expected. 
Ralph Talbot is president of the asso- 
ciation. 


WHAT IS THE COLOR 

of the new 

HANDBOOK OF 

PROJECTION 

? ? ? ? 

• • • • 

IT’S BLUE 

and it’s 

The Blue Book of Projection 


Musicians Win 

The wage scale of Chicago musi- 
cians for the coming year was settled 
last week at a conference between the- 
atre owners and the representatives 
of the Chicago Federation of Musi- 
cians at the office of Jones, Linick and 
Schaefer. The musicians were suc- 
cessful in obtaining their demand for 
a continuation of the present wage 
scale. 

Managers of picture theatres out- 
side the loop district declare that the 
high wage scale keeps scores of the- 
atres from installing orchestras, and 
assert that while the union cannot be 
successfully combatted, it is defeating 
its own purpose by keeping men out 
of work through the demand for ex- 
cessive wages for some instead of rea- 
sonable wages for all. 


Legion Film 


To prove the public’s desire for cleaner, 
bette r and more' truly American films 

.the American , tb--. — - 



At. w;-:. - neni's Made to Dispose of 
Kmssre Chain for $650,060 

: A . are now that deeds soon 

■ wid • mooting the salt of the 

tffirt-- m. A v Fngland moving picture 
th • ieh were fount . > be 

amone assets of the closed Cos- 

Ince Producing Corporation at an ap- 
proximate cost of 8200,000. The tenta- 
tive title is “The Blood Bond.” The 
permanent title will be obtained through 
a title contest conducted by the Ameri- 
can Legion Weekly. 


To Open September4 

The Eastman Theatre, of the Uni- 
versity of Rochester first University 
owned and University operated the- 
atre in America, has officially an- 
nounced its opening for Monday, Sep- 
tember 4. The vast $5,000,000 educa- 
tional experiment under the guise of 
a picture palace, will get under way 
on that day with no special formalities 
to mark the premiere. 

Two days preceding the official 
opening, on Saturday, September 2, 
there will be a big gathering of celeb- 
rities of the motion picture world, 
musical and theatrical activities and 
the realm of higher education, to view 
the structure and its equipment. 

The opening feature will be the 
Metro production, ‘The Prisoner of 
Zenda.” The Fox News Service will 
be used as an exclusive feature at this 
house. 


Asks for Extension 


Allen Theatres Wants More Time to 
Settle Claims 

An application is at present before 
the judge in bankruptcy at Osgoode 
Hall, Toronto, Ontario, in behalf of 
Allen Theatres, Ltd., asking for an 
official extension over several years to 
enable the bankrupt company to 
attempt a recovery instead of selling 
to another picture corporation. 

This announcement has been made 
at Toronto by G. T. Clarkson, official 
receiver and assignee of the Allen 
Theatres. He declared that there was 
some objection on the part of minority 
shareholders of the company to the 
proposed extension of time for the 
settling of claims against the Allen 
company. 

The judge in bankruptcy has been 
called upon to decide whether the pro- 
posed extension should be granted or 
not, or whether the assets of the Allen 
Theatres should be sold to the other 
( poration for $850,000. The other 
poration is presumably the Famous 
Players Canadian Corporation. 


No Toronto Merger 

here will be no merger of the Loew 
1 Pantages theatres in Toronto, ac- 
"ding to an announcement made in 
Kit city on August 10. The amalga- 
mation of the two theatres in Hamil- 
ton, which is only forty-five miles from 
Toronto, does not affect any other 
houses on either the Pantages or Loew 
circuits in Canada, it was pointed out. 

Separate companies are organized 
for each theatre in the respective 
cities, the Toronto Pantages Theatre 
being owned and operated by a com- 
pany known as Eastern Theatres, 
Ltd. The Hamilton Pantages was op- 
erated by the Hamilton Theatres, Ltd., 
before it was merged with the Loew 
interests into the Hamilton United 
Theatres, Ltd. 


Set Convention Date 

The Motion Picture Theatre 
Owners, of Iowa and Nebraska, will 
hold their annual convention in 
Omaha, Neb., September 18, 19 and 20. 
The Ak-Sar-Ben pageant and festival 
will be held in that city on the same 
dates. Invitations to the convention 
have been sent to Sydney S. Cohen, 
president of the M. P. T. O. A., and 
Will Hays. 


Joins Universal 

Lester S. Tobias, formerly with 
Famous Players and Realart, has 
joined Universal in New Haven as 
special representative for Special At- 
tractions. 


September 2, 1922 


MOVING PICTURE WORLD 


31 


Co-operation Begun 


Representatives of 11,000,000 Start 
Work With Film Industry. 

As a result of a meeting held June 
22 last at the Hotel Waldorf-Astoria 
between Will H. Hays, president of 
the Motion Picture Producers and 
Distributors of America, and about 
100 representatives of national civic, 
religious, educational and welfare or- 
ganizations, a definite plan of co-oper- 
ation has been effected between those 
who make the pictures and those who 
are interested in better pictures be- 
cause of their effect upon the people 
of the nation. A resolution of confi- 
dence in the producers was adopted. 

A body of men and women whose 
names are well known in welfare work 
of various sorts throughout the coun- 
try have organized, have prepared to 
go to work, and have chosen as ex- 
ecutive officer, at the invitation of the 
producers and distributors, whom they 
have assigned to duty in Mr. Hays’ 
office. Colonel Jason S. Joy, formerly 
executive secretary of the American 
Red Cross, is the man selected, and he 
has already assumed his duties. 

The plan of co-operation is : 

The establishment of a channel of 
inter-communication between the 
agencies instrumental in forming and 
interpreting public opinion and the in- 
dustry. 

The increased use of motion pictures 
as a force for citizenship and a factor 
in social benefit. 

The development of more intelligent 
co-operation between the public and 
the industry. 

The aiding of the co-operative 
movement instituted between the Na- 
tional Education Association and the 
producers to direct the making of 
pedagogic films and their effective em- 
ployment in the schools. 

The encouragement of the effort to 
advance the usefulness of pictures as 
an instrument of international amity, 
by correctly portraying American life, 
ideals and opportunities in pictures 
sent abroad, and the proper portrayal 
of foreign scenes and persons in all 
productions. The furtherance, in gen- 
eral, of all constructive methods of 
bringing about a sympathetic interest 
in attaining and maintaining high 
standards of art, entertainment, edu- 
cation and morals in pictures. 

The men and women who signed the 
resolutions and declaration of pur- 
poses are : Mrs. Oliver Harriman, 

president Camp Fire Girls ; Mrs. 
George M. Minor, president-general 
Daughters of the American Revolu- 
tion ; Harold S. Braucher, secretary 
Community Service, Inc., and Play- 
ground & Recreation Assn, of Amer- 
ica; Mrs. Woodallen Chapman, chair- 
man committee on Motion Pictures, 
General Federation of Women’s Clubs ; 


HOW MANY QUESTIONS 

are asked and answered 
in the new 

HANDBOOK OF 

PROJECTION 

? ? ? 

• • • 

842 

Hugh Frayne, The American Federa- 
tion of Fabor ; James West, chief scout 
executive, The Boy Scouts of Arner- 
ict. 

Fee F. Hanmer, director, Depart- 
ment of Recreation, Russell Sage 
Foundation; Charles A. McMahon, 
editor National Catholic Welfare 
Council Bulletin; ReA^. F. Ernest John- 
son, Federal Council of Churches of 
Christ in America; Harold Ross, edi- 
tor American Region Weekly; Mrs. 
Robert E. Spear, president Young 
Women’s Christian Association; Mrs. 
Jane D. Rippin, director The Girl 
Scouts; Dr. John R. Mott, general sec- 
retary International Committee of 
Young Men’s Christian Association. 

They are among the leaders of their 
national organizations, the combined 
membership of which is more than 11,- 
000,000. Their representative at Mr. 
Hays’ headquarters will keep them in- 
formed at all times as to the construc- 
tive work being done by the producers 
and distributors looking toward the 
improvement of the quality and the 
raising of the standards of pictures. 
He will also keep Mr. Hays informed 
of the aims and activities of the or- 
ganizations he represents and of the 
co-operative efforts. 


Eddie Laemmle 111 

Production work on the part of the 
company sent to Europe by Universal 
for the production of “Castle Craney- 
crow, ’ has been delayed by the illness 
of Edward Faemmle, the director. 
Harry Myers, the star, has been re- 
called to Universal City temporarily, 
and has just arrived in New York from 
Berlin. Hq is accompanied by Tenny 
Wright and David Stumar, Universal 
cameramen. 

Young Faemmle is now undergoing 
hospital treatment in the German cap- 
ital. It will be many weeks before he 
is ready to take up his production 
plans again. He is suffering from a 
blood affection brought on by over- 
work and nervous strain. 


New Company 

The Ocean Film Company has been 
organized in Prague, Perstyn— 359. 
It is a distributing company and is in 
the market for American made films. 


Two Men Killed 


C. R. Freeland and H. J. Johnston 
Meet Violent Deaths 

Two motion picture men widely 
known in the Southwest died violent 
deaths in the Dallas territory on Sun- 
day, August 13. 

Charles R. Freeland, well-known 
among the younger generation of 
Southwest picture men, was struck by 
a Southern Pacific train near Fords- 
burg, N. M., Saturday night and died 
of his injuries early Sunday morning. 

Howard J. Johnston, 24 years old, 
widely known as theatre organist, and 
who until recently was on the musical 
staff of the Hope Theatre, was shot 
six times in the abdomen at noon Sat- 
urday in a room at the Southland 
Hotel, Dallas. He died early Sunday 
morning. Charges of murder were 
filed against C. T. Harp, cotton buyer, 
and J. E. Hamilton, druggist, of 
Waxahachie, Texas, following his 
death. 

Mr. Freeland was until recently 
assistant manager of the Old Mill, 
Queen and Palace Theatres in Dallas, 
and was returning to Dallas after 
some time passed in California in 
search of health. He was driving an 
Overland and apparently failed to see 
or hear the train that hit his car. He 
was buried in Dallas, with a number 
of Southern Enterprise men acting as 
pallbearers. 


Annual Outing Held 

The first annual outing of the 
Motion Picture Theatre Owners, of 
Eastern Pennsylvania and Southern 
New Jersey, was held Monday and 
Tuesday, August 20 and 21, at Atlan- 
tic City, N. J. The program for the 
two days included many enjoyable 
events, among which was a banquet at 
the Alamac Hotel, where Harry Latz, 
manager of the Alamac Hotels at 
Atlantic City and Fake Hopatcong, 
N. J., announced his engagement to a 
well-known theatrical star. 


Maigne ’s Salary Held 

Justice Lydon of the New York Su- 
preme Court has signed an order restrain- 
ing the Famous Players-Lasky Corpora- 
tion from paying Charles Maigne, a di- 
rector of the company, all or any part 
of his $600 weekly salary. 

The order was obtained by Michael 
Belfi of New York, whose infant daugh- 
ter, it is alleged, was run over and killed 
by Maigne s automobile in November, 
1919, and a jury in Justice Donnelly’s 
part of the Supreme Court in April, 1921, 
awarded the father of the girl $2,500 
damages, which he has been unable to col- 
lect owing to the absence of Maigne from 
this city. 


32 


MOVING 


PICTURE WORLD 


September 2, 1922 


News from the Producers 


Standing Stars 


Wyndham Standing is the 
star of “The Isle of Doubt,” a 
six-reel feature which Play- 
goers Pictures announces for 
release September 10. This 
picture, which was adapted 
from the well-known novel by 
Derek Bram, is said to com- 
bine the appeal of a high-class 
society drama with the adven- 
ture and lure of the tropics. 
Its story is characterized by a 
strong element of surprise 
throughout, and is made 
doubly interesting by unex- 
pected twists and turns of the 
plot. 


New Jack Pickford 
Film Finished 

All the camera work has been 
completed on Jack Pickford’s “Gar- 
rison’s 'Finish,” his first photoplay 
for early autumn release by Allied 
Producers and Distributors Corpora- 
tion. “Garrison’s Finish” is Jack 
Pickford’s first independent produc- 
tion, and he plays the role of Billy 
Garrison, the all-square jockey who 
is double-crossed by another rider, 
but who eventually wins out and 
comes under the wire a winner. The 
story is from W. B. M. Ferguson’s 
novel of the same title. The scenario 
was prepared by Elmer Harris, with 
Mary Pickford supervising. Madge 
Bellamy plays the role of Sue Desha, 
daughter of a Kentucky breeder, 
whose intuition tells her Garrison is 
innocent of throwing an important 
race. There is action and thrills all 
through the picture. The race track 
scenes are said to rank high. 

“Garrison’s Finish” was directed 
by Arthur Rosson, with the photog- 
raphy by Garold Rosson. Others in 
the supporting cast are Charles A. 
Stevenson, Tom Guise, Frank Elliott, 
Clarence Burton, Ethel Grey Terry, 
Audrey Chapman, Dorothy Manners, 
Herbert Prior, Charles Ogle and 
Lydia Knott. 

Terriss in England 
Making Film 

Tom Terriss, who went to Eng- 
land after making “Find the 
Woman” for Cosmopolitan, is at 
work in London making “The 
Harbor Lights,” a famous melo- 
drama that ranks high among the 
many successes of similar name that 
have gone to make the fame of the 
old Drury Lane Theatre. 

Arrangements for the release of 
this picture, which is the only one 
Terriss will make under that con- 
tract, will not be made until the pic- 
ture is completed. Following “The 
Harbor Lights,” Terriss has ar- 
ranged for a series of pictures that 
will be released in this country 
through one of the recognized com- 
panies, according to a contract that 
was signed before Terriss sailed. 


$$ CS* SEWELL 



Fox Spends Large 

Sums for Stories 


From the indications of last year 
and the announcements for the im- 
mediate future it is apparent that 
William Fox looms as one of the 
heaviest buyers of the motion picture 
fiction in the market, it is stated. 

Thei Fox Corporation believes in 
the soundness of this policy. The 
expenses of production in these days 
are so heavy that to purchase a story 
or play that has already met with 
popular approval means a guaranteed 
success to the motion picture ex- 
hibitor, Fox says. One of the 
prominent officials of the Fox Film 
Corporation expressed it as follows : 

“In the motion picture field the 
greatest economy for the purchaser 
of motion pictures and the motion 
picture theatre is for the original 
maker to offer his market the very 
best regardless of the momentary 
expense. What is the best, and what 
is it that will prove most successful? 
The answer to this will make a for- 
tune for any showman just as it has 
made the success of the Fox Film 
Corporation — but by what test can 


we know what is going to be the 
best, most successful and most 
popular? One answer is, by avoid- 
ing useless experiments — for which 
the motion picture theatre owner 
must ultimately pay the bills. 

“It is obvious that stories and 
plays that have already proven their 
success before audiences of hundreds 
of thousands of people are the best 
guarantees to the motion picture ex- 
hibitor that he is going to get a 
proven sure-fire success to offer his 
screen audiences — a certainty of 
success that remove as far as is 
possible the risks of the show busi- 
ness. 

“Upon this theory the Fox Film 
Corporation has been one of the most 
extensive buyers of best sellers and 
most popular stories during the past 
year. The Fox preliminary an- 
nouncements for the forthcoming 
year emphasize the fact that Fox 
is one of the most lavish spenders 
for successful fiction and dramatic 
rights for motion picture purposes 
that have so far developed in the 
motion picture field.” 


Striking Ads for 

“Nanook of North’’ 


At the beginning of the second 
week of the run of the Pathe special, 
“Nanook of the North,” at the 
Alhambra Theatre, Los Angeles, the 
double-column display advertising in 
local newspapers startlingly reflected 
the theatre management’s sentiments 
regarding the great Eskimo epic. 
Pictures of the Eskimo baby actor’s 
“Smile from the North,” and of the 
hero, Nanook’s, hand -to -hand - 
struggle with one of his half fam- 
ished sledge-dog pack “huskies,” 
were printed with such expressions 
as these : 

“Flaherty did it ! Gosh ! What 


a picture! But wait till you see 
‘Nanook of the North,’ held over for 
a second and unalterably final week 
at the Alhambra. 

“Away up North, a thousand miles 
from civilization, where a heaved 
brick would hit the North Pole, 
where it is so cold and dismal that 
even the sun shivers, an Irishman by 
the name of Flaherty — Robert J. 
Flaherty, F. R. G. S. — made a pic- 
ture with no studio or laboratory, 
not even one picture actor, under 
heart-breaking conditions, and still a 
picture raved over by the theatre’s 
severest critics.” 


Four Comic Stars 

in Metro Picture 


Comedy, which all producers of 
motion pictures strive so diligently 
to put into their productions, is not 
to be lacking in the Metro S-L 
special production of “Quincy 
Adams Sawyer,” which is being 
filmed for Metro under the direction 
of Clarence G. Badger. 

There are four outstanding 
comedy characters in this famous 
Charles Fulton Pidgin story. Main- 
taining the standard of the rest of 
the cast selected for this picture, 
four male comedians, each a star in 
his own right, have been assembled 


by Arthur Sawyer. They are Hank 
Mann, Billy Franey, Harry Depp 
and Victor Potel. 

These four comedy players add 
materially to the already notable cast 
signed, which includes Blanche 
Sweet, John Bowers, Barbara La 
Marr, Lon Chaney, Claire Mc- 
Dowell, Elmo Lincoln, Louise 
Fazenda, Joseph Dowling, Gale 
Henry, Edward Connelly, Kate 
Loster, Harry Davenport. June 
Elvidge and Millie Davenport. The 
scenario was written by Bernard 
McConville. 


Film Honored 


The new $5,000,000 Eastman 
Theatre, Rochester, N. Y., has 
chosen as the attraction for its 
opening some time in Septem- 
ber, Rex Ingram’s production 
for Metro of “The Prisoner of 
Zenda.” 

This booking amounts to 
testimony to the effect that 
this picture is the most ex- 
cellent available. The East- 
man Theatre, built for the city 
of Rochester by the Eastman 
family, has for its prime pur- 
pose the presentation of the 
best in pictures. The screen 
of this playhouse will reflect 
photoplays chosen on their 
artistic merits alone, irrespec- 
tive of returns. 


“One Clear Call” Is 
Drawing Crowds 

“One Clear Call,” Louis B. 
Mayer’s latest John M. Stahl special, 
is not only proving a spectacular 
box-office success, but is being held 
over for two weeks in many one 
week run houses, according to re- 
ports on the production received by 
Associated First National Pictures. 

It was the first picture this year 
to play two weeks in Jensen and 
Von Herberg’s Columbia Theatre, 
Portland, Oregon; in San Francisco 
it held the same distinction with a 
two weeks’ showing at Turner and 
Dahnken’s Tivoli Theatre; and in 
the leading Jensen and Von Herberg 
Theatre in Seattle, “One Clear Call” 
was held over for a second week by 
popular demand. 

* All of these theatres did a big 
business, with the evening shows 
packed and a record - breaking 
matinee attendance in spite of the hot 
weather conditions. 


“Monte Cristo” in 
Fox List 

Heading the list of releases by 
Fox Film Corporation for the week 
of August 28 is “Monte Cristo,” the 
special production which opened an 
indefinite run at the Forty- fourth 
Street Theatre, New York City, 
Monday, August 14. 

“Monte Cristo” was directed by 
Emmett J. Flynn, who also directed 
“A Fool There Was,” of the 1922-23 
season’s schedule, and "A Connec- 
ticut Yankee in King Arthur's 
Court,” of last year's Fox program 
of specials. 

The Charles Jones release is 
“West of Chicago,” a romantic 
story of the Western plains. It is 
from the pen of George Scarborough 
and was directed by Scott Dunlap 
and C. R. Wallace. Three comedies 
and a Mutt and Jeff Animated 
Cartoon complete the program of 
the week. 


September 2, 1922 


MOVING PICTURE WORLD 


33 


“Rejuvenation” Now 
Being Cast 

What is expected to be one of the 
lost pretentious of the fall releases 
f American Releasing- Corporation 
5 an ambitious production by Lam- 
iert Hillyer of Cyrus Chapin’s 
iriginal story, “Rejuvenation,” a 
tory which parallels the rejuvena- 
ion of a man and a great city fol- 
owing the San Francisco fire of 
.906. 

It is a San Francisco and Oakland 
story which is to be photographed in 
:hose cities. The producer is Over- 
land Productions, which has taken 
iver the plant of the Stewart Motion 
Picture Company in Oakland. Mr. 
Hillyer is now casting the produc- 
tion and has, to date, definitely en- 
gaged Jack Mulhall, Bessie Love, 
Henry Walthall and Tully Marshall. 


First Place Claimed for 

Cosmopolitan Production 


Aids Neilan 

Hobart Bosworth, well-known 
stage and screen star, after con- 
siderable negotiations and purely 
through his friendship for Marshall 
Neilan, has held up his own produc- 
tions in San Francisco and gone to 
Los Angeles to play the part of 
Shane Butler Keogh in “The 
Strangers’ Banquet,” Mr. Neilan’s 
first production in association with 
Goldwyn, thereby completing and 
strengthening one of the most note- 
worthy picture casts of the year. 


With Universal 

Ralph Graves has been engaged by 
Universal to portray an important 
role in “The Jilt,” an all-star picture 
which Irving Cummings is directing. 
“The Jilt” is a Saturday Evening 
Post Story scenarioized by Arthur 
Statter. 


What Cosmopolitan Productions 
claims is the most magnificent 
motion picture ever filmed, from the 
greatest love story ever told — “When 
Knighthood Was in Flower” — in 
which Marion Davies is starred, has 
just been completed. 

The producing company says that 
not only is it the most beautiful of 
film productions, but that it cost 
more money than any other, the total 
expense being nearly $1,500,000. 

It is said the set was the largest 
ever constructed, covering more than 
two city blocks. 3,000 actors, in- 
cluding 55 principals, appeared. In 
spite of the magnitude of the pro- 
duction it was filmed in the short 
space of 160 working days. 

It is stated by Cosmopolitan that 
other producers have long had 
“When Knighthood Was in Flower” 
in mind for a motion picture, but 
that the large expense has held them 
back from attempting it. Mary 
Pickford had, however, according to 
Cosmopolitan, attempted to obtain 
the rights to film the picture, but 
had failed. There was a good deal 
to be accomplished before the rights 
were gained by Cosmopolitan, it is 
said, as they were claimed in part by 
Julia Marlowe, who presented the 
play on the speaking stage, and the 
widow of Charles Major also de- 
manded recognition. 

After long negotiations the claim 
of Mrs. Major was satisfied, and the 
actual rights were purchased from 
Miss Marlowe. Then Cosmopolitan 
began the big task of research and 
other details which were necessary 


in the production of this picture. 

The story is staged in the time of 
Henry VIII., of England, when the 
English court was noted for its 
magnificence and picturesqueness. 
It was necessary to choose a direc- 
tor whose work had put him in the 
forefront of his profession, and 
Robert G. Vignola was obtained. 
Joseph Urban, who decorated palaces 
and built bridges in Europe before 
he became affiliated with Cosmo- 
politan Productions, was put in 
charge of the work of recreating 
the settings of the magnificient Eng- 
lish court, and the Court of France, 
which at that time was also noted 
for its grandeur, as well as the 
scenes which surrounded the middle 
and poorer classes in the English 
metropolis. 

Among the scenes is the famous 
tower of London, where the English 
knight, Brandon, with whom Prin- 
cess Mary, daughter of the English 
king planned to elope, narrowly 
escaped being beheaded. Also is 
shown the tournament, in which 
many armed knights took part, in 
honor of the birthday fete of Prin- 
cess Mary. The costuming of the 
noble ladies who were present at the 
tournament, as well as the men of 
the period, formed a difficult part in 
the production of the picture. It 
was also necessary to train a num- 
ber of men in the art of swords- 
manship so that they could ade- 
quately portray the gallants of the 
time in which the story is laid. 
Among those who took part, both as 
teachers and as actors, in the film 


were two German barons, and one 
French and one Italian count, all 
with records as duelists. 

More than 3,000 costumes were in 
use at one time. One of particular 
magnificence was Princess Mary 1 s 
wedding dress, which she wore to be 
married to the King of France. The 
dress was of silvercloth, ermine and 
pearls, and weighed 25 pounds. 


u 


The Christian” Now 
Being Edited 

The last scenes for Goldwyn’s 
picturization of Sir Hall Caine’s 
novel, “The Christian,” have been 
taken by Director Maurice Tourneur 
after several nights of work with 
mobs to supplement the big mob 
scenes taken in London last June. 

The editing has already been be- 
gun under the direct supervision of 
Paul Bern, Goldwyn’s editor-in- 
chief, and of the director. A com- 
plete print of the photoplay will be 
sent to Sir Hall Caine in London 
immediately after the assembling and 
editing is finished and the author 
will, himself, write the titles for it. 


At the Capitol 

Irene Castle’s latest Hodkinson 
picture, “Slim Shoulders,” will be 
given its premiere at the Capitol 
Theatre in New York during the 
week beginning September 3, with an 
Irene Castle Fashion Promenade 
prologue, in which thousands of 
dollars’ worth of newly imported 
gowns from Paris will be featured. 



FIRST NATIONAL SALES OFFICIALS AND 
DISTRICT MANAGERS 

Top Row, left to right: Vincent J. McCabe, Canadian manager; 
W. E. Callaway, southern representative; L. O. Lukan, western 
district manager; R. C. Seery, midwestern district manager; 
J. A. Gove, of department of distribution, and H. A. Bandy, cen- 
tral district manager. Seated: William Morgan, department of 
distribution; Floyd Brockell, supervisor of exchanges; S. W. 
Hatch, department of distribution. 


F. B. O. Announces a 
Diversified Program 

Ten pictures that have been made clean-ups in New York, 
christened the “box office ten” have Detroit, Los Angeles and many other 
been announced by the Film Book- cities. “The Kick-Back,” a Harry 
ing Offices of America as their con- Carey production, is the second, 
tribution to the campaign for a pros- Following these are “The Snowshoe 
perous fall season. These pictures Trail,” a Chester Bennett production, 
include the output of a majority of starring Jane Novak; “Wreckage,” 
the stars who are now busy at the the working title of the first Robert 
R-C studios in California, and will Thornby production; “The Three 
form the bulk of the F. B. O. early Cornered Kingdom,” starring Ethel 
fall product. Clayton; “When Love Comes of 

The F. B. O. box office ten will Age,” Helen Jerome Eddy’s first 
start the newly-named organization starring vehicle; “Captain Fly By 
on its first big season with an Night,” starring Johnnie Walker; 
impetus which, it is said, is expected “Good Men and True,” the second 
to place it among the leaders of the Harry Carey production; “Thelma,” 
industry. These pictures will, it is another Jane Novak starring vehicle, 
stated, afford the exhibitor a variety from Marie Corelli’s novel, and 
of entertainment which will range 
from light comedy drama to tense 
drama. Each of them has been made 
with an eye to box office success, 
accordng to reports, and from the 
period of the conception of the story 
to the filming of the last scene, the 
exploitation possibilities of the pro- 
duction as a supplement to the enter- 
tainment values have been carefully 
kept in mind. And as a result the 
name “box office ten” has been ap- 
plied to them. 

Naming these in the order of re- 
lease they are : “In the Name of 

the Law,” an Emory Johnson pro- 
duction, which, it is said, has already 



34 


MOVING PICTURE WORLD 


September 2, 1922 


Exhibitor’s Ready Reference to Lobby R^togravine 


T HIS index has been established at the request of numerous readers to assist them in using the 
rotogravure section of Moving Picture World for their lobbies. All subjects in the current issue 
and for eight issues past will be found listed below, together with the subjects in next week’ s section. 


In This Issue 

“The Bitterness of Sweets,” Goldwyn. 

Dean, Priscilla, Portrait of, Universal. 

“Human Hearts,” Universal. 

“Monte Cristo,” Fox. 

“The Siren Call,” Paramount. 

Starland Revue, F. B. O 

"The Three Must-Get-Theres,” Allied. 

In the Next Issue 

“A Fool There Was,” Fox. 

Greeley, Evelyn, Portrait of, Producers Security. 

“The Headless Horseman,” Hodkinson. 

"Heroes and Husbands,” First National. 

“Man Wanted,” Clark-Cornelius. 

“Remembrance,” Goldwyn. 

“Timothy’s Quest,” American Releasing. 

“When Husbands Deceive,” Associated Exhibitors. 

In Past Eight Issues 

Baird, Leah, Associated Exhibitor's star in “When Husbands De- 
ceive,” Aug. 12. 

“Barthelmess, Richard,” First National star, Aug. 5. 

“Blacksmith, The,” starring Buster Keaton, First National, Aug. 5. 
“Blood and Sand,” starring Rodolph Valentino, Aug. 12. 
“Borderland,” starring Agnes Ayres, Paramount, July 22. 

“Broken Chains,” Goldywn, July 29. 

Compson, Betty, Paramount’s star in “The Bonded Woman,” Aug. 5. 
“Dangerous Adventure, A,” starring Grace Darmond, Warner Broth- 
ers, Aug. 19. 

“East Is West,” starring Constance Talmadge, First National, Aug. 19. 
Educational-Mermaid Comedies, Aug. 5. 

“$5 Baby, The,” starring Viola Dana, Metro, July 22. 

Fairbanks in “Robin Hood,” Douglas, United Artists, July 15. 
Hamilton, Lloyd, Educational, star, July 22. 

“Her Gilded Cage,” starring Gloria Swanson, Paramount, July 29. 
“Her Majesty,” Mollie King and Creighton Hale, Playgoers, Aug. 12. 


“Home Made Movies,” starring Ben Turpin, First National, Aug. 12. 
“Honor First,” starring John Gilbert, Fox, Aug. 5. 

Hutchison, Portrait of Charles, Pathe, Aug. 26. 

“Just Tony,” starring Tom Mix, Fox, Aug. 12. 

Kenyon, Doris, playing opposite Johnny Hines, C. C. Burr, Aug. 12. 
Lane, Lupino, in “The Reporter,” Fox. 

Lloyd, Portrait of Harold, Pathe, Aug. 26. 

Lyons’, Eddie, Newest Arrow Comedy. 

“Lights of the Desert,” starring Shirley Mason, Fox, July 22. 

“Love Is An Awful Thing,” Owen Moore and Marjorie Daw, Selznick, 
July 22. 

"Masquerader, The,” starring Guy Bates Post, First National, July 29. 
“More to be Pitied than Scorned,” C. B. C. Film Sales Corp., Aug. 5. 
Murray, Mae, Metro star, July 15. 

“New Teacher, The,” starring Shirley Mason, July 29. 

“Nice People,” Wallace Reid and Bebe Daniels, Paramount, Aug. 19. 
“Oh, Daddy,” First National, Mack Sennett Comedy, July 22. 

Pollard, “Snub,” starring in two-reel comedies for Pathe, Aug. 19. 
Parrott, Paul, in Scenes from Pathe Comedies. 

“Range Rider Series,” starring Leo Maloney, Pathe, Aug. 19. 

Roach, Hal, Comedies, Pathe. 

Roland, Ruth, in “The Riddle of the Range”; Pathe. 

“Rose O’ the Sea,” starring Anita Stewart, First National, July 15. 

Hal Roach Comedies, Pathe, July 22. 

Educational-Mermaid Comedies, Aug. 5. 

“Song of the Lark, The,” Pathe, Aug. 5. 

“Shattered Idols,” American Releasing Corp., July 29. 

“Salome,” starring Nazimova, Nazimova Productions, Inc., July 15. 
“Supply and Demand,” starring Johnny Jones, Pathe, Aug. 19. 

First National Stars, July 29. 

Educational-Christie Comedies, Stars, Aug. 19. 

Norma Talmadge in “The Eternal Flame”; First National. 

“That Son of a Sheik,” Neal Burns and Viora Daniel, Educational, 
Aug. 19. 

“Up in the Air About Mary,” Associated Exhibitors, July 22. 
Windsor, Claire, appearing in “Rich Men’s Wives,” A1 Lichtman, 
July 29. 

“Woman of No Importance, A,” Select, July 15. 

“Woman Who Came Back, The,” Playgoers, Aug. 5. 

"Young Diana, The,” starring Marion Davies, Cosmopolitan, July 29. 


Cooley Engaged 

Hal Cooley has been engaged by 
Myron Selznick for one of the 
principal parts in the support of 
Elaine Hammerstein and Conway 
Tearle in “One Week of Love.” 


Carter Signs 

Douglas Carter, the colored come- 
dian, has signed a contract with the 
Selznick Company. 


Finish “Tess” 


After fourteen weeks of 
work, Mary Pickford has 
completed her new version of 
“Tess of the Storm Country,” 
the Grace Miller White story. 
Present indications are that 
the film will be in not more 
than seven reels. It probably 
will be ready for United Art- 
ists release by October 1. The 
direction has been under the 
guidance of John S. Robert- 
son, with Charles Rosher at 
the camera. In the cast are 
Lloyd Hughes, Gloria Hope, 
Forrest Robinson, David Tor- 
rence, Jean Hersholt, Danny 
Hoy and Mme. de Bodamere. 

In filming the play twenty 
sets were built, thirteen of 
which were interiors. Only 
four locations were used. 


Flynn Is Making 


New 

Emmett J. Flynn, who directed 
“A Fool There Was” and “Monte 
Cristo,” two Fox specials for the 
season of 1922-23, has begun work 
on “Without Compromise” the next 
William Farnum vehicle, with an 
exceptionally notable cast of artists, 
according to word from the West 
Coast Studios of Fox Film Corpor- 
ation. 

The picture, which will be a 
screen adaptation of the widely read 
story by George Hubbard and Lil- 
lian Bennett-Thompson. which was 
purchased by William Fox prior to 
his departure for Europe, will be 
the first Farnum has made at the 
Hollywood center in over a year and 
a half. 

Before being transferred to the 
West Coast, Farnum completed 
“Moonshine Valley” at the New 
York studios under the direction of 
Herbert Brenon, who is now engaged 
in the production of “Penzie,” an- 
other Fox special with Mary Carr. 
“Moonshine Valley,” which is from 
the scenario by Mary Murillo will 
be released August 27, and marks 
the return of the virile movie hero 
to the open-shirted, rugged roles for 
which he has become famous. 

In his latest picture, Mr. Farnum 
is afforded all the propitious situa- 
tions and characters necessary for 


Fox Picture 

the best exhibition of his varied tal- 
ents, it is said. Rights to another 
story by the authors of “Without 
Compromise” have been acquired by 
the Fox organization, but so far, the 
star has not been named. 

“Day Dreams” Title 
of Keaton Film 

“Day Dreams” is the title of 
Buster Keaton’s latest two-reel 
comedy. The picture was produced 
by Joseph M. Schenck, and will be 
released through Associated First 
National. Eddie Cline directed, with 
Virginia Fox and Joe Roberts in the 
supporting cast. 

“Adam and Eva” Is 
Under Way 

Cosmopolitan Productions has 
commenced filming the outdoor 
scenes of “Adam and Eva.” with 
Marion Davies as the star, at the 
picturesque Merrybrook Farm, be- 
longing to Dr. Herbert T. Morris, 
near Stamford. Conn. T. Roy 
Barnes plays the modern Adam to 
the up-to-date Eva of Marion 
Davies, 


Noah Beery Added to 
“Omar” Cast 

Richard Walton Tully has added 
Noah Beerv to the cast of “Omar 
the Tentmaker,” a First National 
attraction, in which Guy Bates Post 
is the star. Mr. Beery will be seen 
in the role of the Shah. 

His part in Post’s support will, 
it is said, give him an opportunity 
for a new characterization. 


Ad Campaign 


Inspiration Pictures, Inc., 
which makes the Richard Bar- 
thelmess productions, distrib- 
uted by Associated First 
National, through its presi- 
dent, Charles H. Duell, Jr., 
announces that within a few 
weeks it will begin a smashing 
national advertising campaign 
on Barthelmess, already one 
of the most popular male stars 
on the screen. 

The campaign, which is be- 
ing handled by Felix Feist, 
opens with a page advertise- 
ment in the Saturday Evening 
Post. This will be devoted to 
the latest Barthelmess’ pic- 
ture, “The Bondboy.” Then 
will follow a poster campaign 
to take in one-fourth of the 
billboards in the United 
States. Following that will 
c-me a magazine and news- 
paper advertising campaign. 



Beautiful EVELYN GREELEY 


Starring in 


A Producers Security Corp, 


BULL DOG DRUMMOND 







Scenes from F. B. O’s. 
Starland Revue 

There are a variety of 
Subject Pictured in this 
Series 






i 

[ 



( i w 







THE SIREN CALL 


with Dorothy Dalton 
Supported by David 
Powell and Mitchell 
Lewis 


A Pammont Picture 






"HUMAN HEARTS" 
the Universal 'Jewel Produo 
tion of Hal Reid's Famous 
Stage Play. Now being shown 
in New York City. 




House Peters Plays the Star- 
ring Role and King Baggot 
Directed. The Picture is call- 
ed "An Emotional Review of 
Life.” 








Stage Entrance 


"THE BITTERNESS 
OF SWEETS" 

Goldwyn's 

Rupert Hughes Picture 

Antonio Moreno is 
among the Players 















MONTE C R 1ST O 


The William Fox Special 
Now Running in New York 










What 117 Exhibitors Have Said Of 


Ruth Roland 


The Timber Queen, 



Produced bu RUTH ROLAND SERIALS, Inc. 

Supervised by HAL. E. ROACH 

117 exhibitors, men who know serials, show them and 
make money with them, have taken the trouble to write 
us, through our various exchanges, with reference to “The 
Timber Queen” 

They all say this: “ ‘The Timber Queen’ is the best serial 
I have ever seen ! ” 

What 117 exhibitors have voluntarily and enthusiastically 
praised, is something for you to look at and seriously con- 
sider, Mr. Exhibitor. 

A censor-proof serial, vivid, thrilling, brilliant, beautiful) 
with a real story, star and cast. 

Pafheserial 







Better Than Good 

According to Published Reports From Exhibitors Themselves 

The Isle of Zorda 

From Jules Verne’s Celebrated Novel, Mathias Sandorf 


T N the July 8th issue of the Motion Picture 
News there is published a chart of features 
with exhibitors’ reports concerning these pic- 
tures, on a percentage valuation. 20% is 
Poor, 40% Fair, 50% Average, 70% Good 
and 100% Big on this chart, and the exhib- 
itors’ own rating is given each picture. 

“The Isle of Zorda’’ receives on this chart 13 
reports; the entertainment rating is given as 
72% and the box office value as 72%. 


There are 207 features listed. Only 41 aver- 
age 70% or better. 

“The Isle of Zorda,” gentlemen, is better than 
Good by your own judgment. Better than 80% 
of the current features! 

No wonder! It is so different as to be distinc- 
tive; so different that it is refreshing; so beau- 
tiful as to be a marvel. The public has tired 
of the sameness in features. 

Give them “The Isle of Zorda.” 



Produced by Louis NsIpaS 
Directed by Henri Fes court 


Pafhepicture 


September 2, 1922 


MOVING PICTURE WORLD 


35 


Educationals Get 


Off 

Enthusiastic praise from critics 
and quick bookings from big first 
run houses in all parts of the country 
are greeting the earliest pictures in 
Educational’s 1922-192 3 program of 
short subjects as they become avail- 
able for release or for pre-release 
private reviews. 

A real sensation, it is said, is being 
created by the Earl Hurd Comedies, 
the single-reel novelties presented by 
C. C. Burr, in which Mr. Hurd is 
combining “shots” of real actors 
with animated cartoons in a manner 
than leaves the audience guessing as 
to how it is done. There are to be 
six pictures in this series. 

While “One Ol’ Cat” is running 
simultaneously at the Rivoli and 
Strand Theatres in New York the 
week of August 20, the second pic- 
ture of the series, “Fresh Fish,” is 
in its second week at the Strand. 
It is the third week for “One 01’ 
Cat” at the Rivoli. 

The reception given “Look Out 
Below” speaks well for the success 
of the new series of Mermaid Come- 


to Big Start 

dies started by Jack White with this 
picture. “One of the most distinc- 
tive burlesque comedies in many 
months,” writes James W. Dean, of 
Newspaper Enterprise Association. 
He also lauds “That Son of a 
Sheik,” the first of the new Christie 
Comedy series. 

“The First Barber” is the first of 
the Tony Sarg Almanacs to be re- 
leased by Educational. Typical of 
the comments on this highly amus- 
ing one-reel picture is that in Mov- 
ing Picture World, which says : 

“The person who will not be 
moved to laughter by this first Tony 
Sarg’s Almanac for Educational re- 
lease ought to be psycho-analyzed. 
It is a one-reel gem of humor. The 
whole is a delightful conceit.” 

Another new series to be distri- 
buted by Educational is the Hamil- 
ton Comedy group, starring Lloyd 
Hamilton. This first picture, “The 
Speeder,” has been completed and 
will soon be ready for preview and 
showing to exhibitors at the 
branches. 


Rex Ingram at Work 

Instead of Resting 


Giving Rex Ingram, director of 
“The Prisoner of Zenda,” a vacation 
is like giving a squirrel a nut, Metro 
says. He takes it and saves it for 
some other time. 

Not since the completion of his 
first big Metro photoplay, “The Four 
Horsemen of the Apocalypse,” has 
Mr. Ingram taken a rest. On the 
heels of “The Four Horsemen” came 
the direction of “The Conquering 
Power,” “Turn to the Right,” “The 
Prisoner of Zenda” and “Trifling 
Women,” his own story. After this 
his schedule called for the staging 
of a vacation. 

But instead of this the young 
director came East, accompanied by 
Alice Terry, his wife, and Colonel 
Starrett Ford, production manager, 
and immediately set to working out 
scenario, plans for settings, arrange- 


ments for locations for his next 
screen play, “The Passion Vine,” 
based on John Russell’s vivid short- 
story of the South Seas. On the 
train he mapped out his script; and 
since arriving in New York his only 
relaxation has been a week-end visit 
to Mr. and Mrs. Robert Z. Leonard 
at their home in Great Neck. Mrs. 
Robert Z. Leonard is known on the 
screen as Mae Murray. Odd inter- 
vals of time Mr. Ingram has filled 
by reading stories, plays and 
scenarios for future pictures. 

The two principal parts in “The 
Passion Vine,” Mr. Ingram an- 
nounced this week at the home offices 
of Metro Pictures Corporation in 
New York, will be taken by Alice 
Terry and Ramon Navarro, who 
have roles of similar importance in 
“The Prisoner of Zenda.” 


Harold Lloyd at 

New York’s Strand 


Declaring it to be “the film 
treat of the year,” Joseph Plunkett, 
managing director, has selected the 
Harold Lloyd-Associated Exhibitors 
super-attraction, “Grandma’s Boy,” 
produced by Hal Roach, as the 
feature for Labor Day week at the 
Mark-Strand Theatre, New York 
City. 

After booking this picture, follow- 
ing a preview several months ago, 
Mr. Plunkett tentatively selected 
either September 3 or 10 for the 
opening of the New York run. In 
his desire to secure the greatest pos- 
sible drawing card for the holiday 
week he has now decided definitely 
on the earlier date, to the disappoint- 
ment of sponsors of a number of 
other offerings, who hoped to enjoy 
the impetus of the Labor Pay vaca-: 
tion. 


Mr. Plunkett is arranging an 
elaborate prologue to introduce 
Lloyd’s first five-part picture, whose 
phenomenal success already has 
stamped it as a photoplay sensation 
of the year. The exact nature of 
this he declines to reveal, but he 
promises that it will be thoroughly 
in keeping with the importance of 
the picture. Members of Mr. Plun- 
kett’s staff decorated the Strand 
lobby with stills and a huge portrait 
of the star more than a week ago. 


Crandall Named 

President Arthur S. Kane an- 
nounces the appointment of Jean J. 
Crandall, of Washington, as field 
manager of Associated Exhibitors, 
and Mr. Crandall has entered upon 
his new duties once, 



The photograph shows the departure of the seaplane voyagers now 
en route from ,New York to Rio de Janeiro. Public interest is 
enhanced a hundred fold by the fact that a motion picture record 
of the flight is being made for exclusive screening in the semi-weekly 
issues of Pathe News under the breezy and appropriate title of 
“The Log of the SC-1.” J. Thomas Baltzell, of the Pathe News 
camera staff, is shown receiving “bon voyage” from his chief, 
Emmanuel Cohen, editor of Pathe News. 


“Hansel and Gretel” 
Sets Fine 

Under the supervision of Julius 
and Abe Stern, Tom O’Neil, Cen- 
tury’s technical director, has built 
some of the finest sets in his career 
for Century’s third fairy tale, 
“Hansel and Gretel.” Three large 
sets, consisting of the exterior of 
the witches’ candy house, the interior 
of the candy house and the home of 
the children are especially worthy of 
notice. 

The furniture in one set is entirely 
made of little pebbles and consumed 
two and a half weeks to make. Six 
men worked under O’Neil evolving 
these quaint and unique props. The 
candy house also was built from old 
illustrations and Century’s research 
department took every pain to 
make it accurate. 


Vignola Will Direct 
“Adam and Eva” 

Having completed “When Knight- 
hood Was in Flower,” the twelve- 
reel special, starring Marion Davies, 
for Cosmopolitan, Robert G. Vignola 
will this week begin work on his 
next Cosmopolitan special, “Adam 
and Eva,” from the stage success 
of the same name, by Guy Bolton 
and George Middleton. Miss Davies 
will be starred. 

The settings will be designed by 
Joseph Urban. The players include 
Tom Lewis, Louella Gear, Leon 
Gordon, William Norris, T. Roy 
Barnes, Amy Ongley, William 
Davidson and Edward Douglas. 

Florence Vidor in 
“Dusk to Dawn” 

“Something absolutely new” is the 
promise Associated Exhibitors has 
been making in its preliminary an- 
nouncements of “Dusk to Dawn,” 
the current Florence Vidor release, 
The new feature is to be out August 
27. Based on Katherine Hill’s 
widely discussed novel, “The 
Shuttle Soul,” with its stirring 
situations and its exotic touches, this 
photoplay has gjyeri {he star fine 

opportunities. 


Leah Baird Picture 
Now Booking 

Torrid weather has had almost no 
effect on the bookings of “When 
Husbands Deceive,” with Leah 
Baird, according to Associated Ex- 
hibitors, who released the feature 
August 20. Many first run exhibi- 
tors are now signing contracts for 
the picture in order to give it an 
early place on their fall programs. 

One of the first of these was 
Edward Reed, who has just an- 
nounced his intention to offer this as 
the feature attraction at his Strand, 
the largest picture theatre in Provi- 
dence, R. I., the week of Sept. 4. 


“Loves of Pharaoh” 
for August 

Paramount announces as its re- 
lease for August 28, “The Loves of 
Pharaoh.” This picture is presented 
by the Hamilton Theatrical Corpora- 
tion and features an all-star cast, 
among which are included the pick 
of European screen artists, it is 
stated. It was directed by Ernest 
Lubitsch, whose “Deception” and 
“Passion” are well-known. 

Paramount is authority for the 
statement that an entire Egyptian 
city, containing more than fifty mas- 
sive buildings, was constructed for 
the filming of this picture. 

Many thousand people are seen in 
the spectacular battle scenes between 
the _ Egyptians and the invading 
Ethiopians. Emil Jannings, seen as 
the English king in “Deception,” 
gives an even more remarkable per- 
formance, it is said, in the role of 
Pharaoh Amenes. 



MOVING PICTURE WORLD 


September 2, 1922 



GUSTAVE TOTT 
Resident Manager 


ALBERT KELLER 
Managing Director 




Ritz-Carlton 

Atlantic City, N.J. 

The center of distinguished social 
life at this world-famous seaside 
resort, carrying out the European 
atmosphere and social charm of 
illustrious Ritz Hotels of the con- 
tinent. j 

The* Ritz-Carlton at Atlantic City 
appeals especially to those who are 
familiar with these niceties of ap- 
pointments and individual service. 

T A preeminent name and perfect facili- 
ties make the Ritz-Carlton the ideal 
meeting place of conventions at the Sea- 
side. Reservations direct, or through 
Ritz-Carlton, New York. 


Has Selected Cast 


of “Merry 

Erich von Stroheim has completed 
the selection of a cast for “Merry 
Go Round,” his next Universal- 
Jewel production, and expects to 
start “shooting” in a few days. The 
entire construction force at Univer- 
sal City is working night and day, 
building the bizarre sets depicting 
Vienna’s celebrated pleasure park, 
the Prator, and other Viennese 
scenes, to be used in this feature 
picture of Austrian romance and 
adventure. 

The cast engaged by von Stroheim 
will not be heralded as “all star,” but 
will be offered as an interesting 
group of players who are either pos- 
sessed of unusual ability or are par- 


Go Round” 

ticularly adapted to their roles, Uni- 
versal says. 

Norman Kerry and Mary Philbin 
are to have the outstanding parts. 
Wallace Berry, a favorite “heavy,” 
and Dale Fuller, who played in 
“Foolish Wives,” will be seen as 
creatures of the Prater. Several 
others who contributed their best to 
“Foolish Wives” will again be seen 
in “Merry Go Round.” 

George Hackathorne, who did ad- 
mirable work in Universal’s “Human 
Hearts,” and other productions, has 
been given the difficult role of a 
hunchback in “Merry Go Round.” 
Fay Holderness, who was in “Blind 
Husbands,” will also appear. 


“Blood and Sand” 

Sets New Records 


Paramount’s Fred Niblo produc- 
tion, “Blood and Sand,” starring 
Rodolph Valentino, continued its 
record-breaking performance at the 
New York Rivoli throughout the 
second week of its run. The first 
week it grossed both in attendance 
and receipts more than any other pic- 
ture in the history of the house, 
62,344 people paying $37,006.42 to 
see it. 

Starting its second week on Sun- 
day, August 14, when the picture 
grossed nearly $200 more than on 
its opening day a week previous, by 
closing Monday the total receipts had 
topped all previous records for the 
first two days of a second week of 


a run at that house by more than 
$3,600. The previous second-week 
record for that period was held by 
George Fitzmaurice’s production, 
“Experience.” Incidentally, the 
Monday receipts far exceeded those 
for any other picture on a second 
Monday at either the Rivoli or the 
Rialto. 

The daily record for a second 
week was broken every day without 
interruption to the end of the week 
and when the figures were totalled 
it was found that “Blood and Sand” 
not only had beaten the second-week 
record, held by “Beyond the Rocks,” 
by $6,244.32, but had also exceeded 
the best previous record at the 
Rialto. 


Lavishly Praise 

“The Masquerader” 


Guy Bates Post in “The Mas- 
querader,” a First National attrac- 
tion, was praised lavishly by news- 
paper critics when it opened there 
at the Chicago Theatre. “The Mas- 
querader” is proving a powerful box- 
office attraction in Chicago, just as 
it did at the Strand Theatre, New 
York, where it was held over for a 
second week. Here is what the 
Chicago critics had to say : 

Carl Sandburg in the Daily News 
— The acting of Guy Bates Post 
and his supporting cast in this pic- 
ture, as well as the direction and 
swiftness of narrative, makes it an 
out-of-the-ordinary specimen of 
silver sheet thespics. 

Rob Reel in the Evening American 
— “The Masquerader” at the Chicago 
marks Guy Bates Post’s debut on 
the screen. His stage presentation 
of this play was wonderful; his film 
performance is beyond description. 

Observer in the Herald and 
Examiner — “The Masquerader” is 
one of this year’s screen classics. 
Merit and quality characterize it 
from beginning to end. Guy Bates 
Post’s playing is masterful. 

Caroline Fro in the Tribune — 
Here is a picture it is a pleasure 
to recommend. It is the best thing 
I have seen on the screen for a long 


time. It is pictures like “The Mas- 
querader” that justify the motion 
picture industry. 

Genevieve Harris in the Evening 
Post — “The Masquerader” is a 
thoroughbred among film plays. It 
has manner, distinction, that some- 
thing which we may sum up in the 
language of the day as “class.” Act- 
ing of the finest quality is to be 
found in this picture. 

Pathe Releases for 
September 3 

“His Own Law.” of “The Range 
Rider Series,” with Leo Maloney, 
leads the schedule of short subjects 
which Pathe announces for release 
on September 3. Episode No. 8 of 
"The Timber Queen,” called “The 
Smugglers’ Cave.” is included. “Wet 
Weather,” with Paul Parrott, is the 
Hal Roach comedy release. 

The Aesop's Film Fable is “Fear- 
less Fido,” the moral being "You 
can't keep a good man down.” The 
Harold Lloyd re-issue is called. 
“Off the Trolley.” Pathe Review 
No. 171 shows a picturesque storm 
in “Photographic Gems” and has 
other features. 



September 2, 1922 


MOVING PICTURE WORLD 


27 


Pathe Preparedness With Product 
Equals Season’s Bright Promise 


Sir Isaac Newton established 
the principle that the forces of 
action and reaction are equal. 

This is a law of physics that has kind in every department, 
remained uncontested. Otherwise While cheap and poor film may 
referred to as the law of compen- (?) have its uses and find a mar- 
sation it applies to human condi- ket during dull times, Pathe’s pol- 
tions and affairs as well as to the icy has always been to cater to 
orderly movements of the planets requirements of the good periods, 
in their orbits. which practice is emphatically ex- 

Business in general, and the emplified in its imposing array of 
motion picture business in partic- weekly releases starting Septem- 
ular, enjoyed tremendous pros- ber 1. These are described in ac- 
perity from 1918 to the middle of companying Pathe announce- 
1920 and suffered an equally vio- 
lent reaction that has only re- 
cently spent itself. Thus we are 
again due for an era of prosper- 
ity. 

General business unhampered 
by summer slumps has already 
shown remarkable increases, 
which would have been reflected 
in increases in motion picture at- 
tendance except for the seasonal 
drawback. Therefore, action is 
only temporarily delayed, and is 
accumulating greater force; thus 
we can expect fall to begin an 
era of business activity limited 
only by the preparations made to 
take care of it. 

Every business with ordinary 
vision at its disposal saw the com- 
ing of slack times during 1920 
and 1921 and trimmed sails, but 
now sees big business just ahead. 

Accordingly Pathe Exchange, 

Inc., has been bending its every 
energy and that of its producers 
toward lining up a program of 
short subjects that will fill the 
tremendous demand that is cer- 
tain to develop with the new the- 
atre season. 

The nature of the exhibitor’s 
business makes him very acute to 
these actions and reactions, and 
the moment he starts getting re- 
sults from the business stimulus of 
better pictures he necessarily be- 
comes very exacting of his pro- 
gram requirements. Thus it is 
that on the Pathe program of re- 
leases is found only the best of its 


never happy unless they are cru- 
sading against something, but at- 
tacks upon the intelligibility or 
ments. Other acquisitions will be entertainment value of pictures 
made and announced as rapidly demand serious consideration for 
as we find the market respond- they reflect a condition which 
ing to these efforts. might well become serious and if 

Pathe has always been zealous not rectified mean a loss of pa- 
for entertainment quality iti the tronage that the business cannot 
wide range of subjects which it afford to lose. 

distributes. We may ascribe I consider that a more liberal 
most of the attacks upon ethical use by exhibitors of short subject 
shortcomings of the motion pic- programs, selected with a view 
ture to those persons who are to diversity, novelty and fresh- 
ness of subject, and of course all- 
around quality, to be the best pos- 
sible antidote to such a condition. 

Short subject programs are by 
no means confined to the small- 
er houses. The largest and most 
successful houses in the country 
are beginning to see and utilize 
the value of them. The Sym- 
phony Theatre of Los Angeles 
ran a short subject program for 
forty-four days, using Harold 
Lloyd’s comedy, “Never Weaken,” 
as the star attraction. 

Rothafel has run short subject 
programs with great success, and 
I have heard that he is planning 
another at the Capitol. Joe Plun- 
kett is another well-known show- 
man who has done it with good 
success. It is not an innovation. 
It is being done, and where the 
programs are picked with proper 
care the results are always most 
satisfactory. 

We have, in this business, come 
to give the feature an importance 
out of all reason. Not that the 
feature is not valuable or not 
needed, but many exhibitors pick 
their feature and throw in some 
short subjects as “fillers.” The 
same attention should be given to 
the short subject that is given to 
the feature, and the most success- 
ful exhibitors in the country 
recognize that fact. 

It frequently happens that the 
short subjects on a program are 
the true “draw” for a show, and 
that the feature gets by because 


By ELMER PEARSON 

General Manager, Pathe Exchange, Inc. 


SUMMARY FOR 1922-1923 

PATHE NEWS — one reel, twice a week. 

PATHE REVIEW — one reel, every week. 

HAROLD LLOYD COMEDIES — feature specials. 

“SNUB” POLLARD COMEDIES— two reels, one 
every four weeks. 

HAL ROACH COMEDIES — with Paul Parrott, one 
reel, one every week. 

“OUR GANG” COMEDIES — two reels, one every 
four weeks. 

JOHNNY JONES COMEDIES— two reels, six in se- 
ries, one a month. 

SCREEN SNAPSHOTS — one reel, one every other 
week. 

RANGE RIDER SERIES — two reels, one every 
other week. 

PATHE SERIALS — four, of fifteen episodes each; 
stars: Pearl White, 1; Ruth Roland, 2; Charles Hutch- 
inson, 1. 

AESOP’S FILM FABLES — short reel, one every 
week. 

TOPICS OF THE DAY — short reel, one every 
week. 

HAROLD LLOYD RE-ISSUES — one reel comedies, 
one every week. 

PLAYLETS — two series of fifteen each in three 
reels, one every week; another series contemplated. 

FEATURES— “Nanook of the North,” “The Isle of 
Zorda,” and other big specialties as acquired. 



CHIEF EXECUTIVES OF PATHE EXCHANGE, INC. 

Left to Right: Bernhard Benson, Vice-President; Paul Brunet, President; Elmer Pearson, General Manager. 


38 


MOVING PICTURE WORLD 


September 2, 1922 


“Film Fables” Make 
Hit Everywhere 

Picture patrons through their 
local exhibitors in every section 
of the United States have given 
the practical support — meaning 
money paid into the box office — 
that elevates “Aesop’s Film Fa- 
bles” to the summit of animated 
cartoon art and entertainment. 
Reviewers in newspapers and 
magazines, upon the occasion of 
each weekly release by Pathe of 
these highly original comics pro- 
duced by Fables Pictures, Inc., 
have made slogans of lines like 
this : “The animation is well up to 
the standard of this series.” 

It is this quality of Cartoonist 
Paul Terry’s work in translating 
the ancient fabulist’s brain-throbs 
that when an example is seer on 
the screen the audience enjoys the 
illusion of irresistibly funny por- 
trayals by human actors and 
trained animals. 


64 


Scoops” Feature 

Pathe News Reel 


Pathe Product 

( Continued from page 37) 
of them. How many times during 
the past three years has not a 
short length Harold Lloyd com- 
edy been responsible for the suc- 
cess of a show both at the box 
office and in the house, while the 
feature has been an “also ran”? 

Here at Pathe we have some 
features, and “Nanook of the 
North” illustrates their quality, 
but our first and most impoitant 
consideration is to assure to ex- 
hibitors an ample supply of short 
subjects second to none in the 
comedy, dramatic, educational and 
news reel field. It is our pur- 
pose to release them so good and 
in such quantity that any exhib- 
itor, no matter what his patron- 
age and the size of his house, may 
run short subject programs that 
will thoroughly please his people 
and build good will for his house. 

In this connection the Pathe se- 
rial episode is of constantly in- 
creasing consequence. The fully 
and successfully tested New Era 
Fifteen - episode Pathe serial, 
clean, wholesome, yet more dra- 
matically forceful and thrilling 
than ever, is now represented be- 
fore the picture-loving public by 
four significant examples — re- 
ferred to elsewhere in Pathe’s 
fall announcement. 


Pathe News, in the eleventh 
year of its world-wide record, has 
the voluntary support of exhibi- 
tors for its claim to having 
brought the people of the United 
States into “quicker and closer, 
almost personal, touch with lead- 
ing events in every corner of the 
globe than has ever before been 
accomplished by any news-gath- 
ering organization.” To quote 
its editor, Emmanuel Cohen: 
“Pathe News does not rest on 
its past laurels, but strives week in 
and week out to surpass its pre- 
vious records, and to always live 
up to its motto— -the first news 
reel — the real news first. Since 
the first of the present year Pathe 
News has scored an unusually 
large number of scoops on really 
important news events. Our 
competitors have made just as 
much effort to cover these 
stories as we have, and it is only 
through the splendid organiza- 
tion of the Pathe News staff, 
enabling us quickly to locate 
cameramen in territories where, 
in our judgment, events are im- 


pending and to utilize more ex- 
peditious methods of shipment, 
that we are successful in getting 
these stories either exclusively or 
ahead of any other company. 

“Another item which I am sure 
that exhibitors and their patrons 
will appreciate is that Pathe News 
now can claim that it is really an 
international news reel, covering 
all corners of the globe. Never 
in the history of any news reel 
has the world been so thorough- 
ly covered. We are beginning to 
reap the fruits of several years of 
very patient effort. As it is phy- 
sically impossible to have staff 
cameramen everywhere all of the 
time, by diplomatic and construc- 
tive comment on negatives sub- 
mitted by free lance men their 
good will has been gained; they 
have responded by bringing their 
services up to the Pathe News 
standard, and thus we have grad- 
ually built up a staff of corres- 
pondents which completes the 
field organization and makes 
Pathe News a truly internation- 
al medium.” 


Pathe’s Features 
Few But Good 

For the coming year Pathe an- 
nounces no definite extended 
schedule of feature releases, as it 
does not specialize in this type of 
productions. From time to time, as 
they are acquired, a limited number 
of special features marked by 
requisite distinction and human 
appeal will be announced for release. 

The qualities required in features 
seeking Pathe distribution are well 
illustrated in a general way by two 
current examples generally ack- 
nowledged to be in the front rank of 
this season’s outstanding successes. 
They are “Nanook of the North,” 
which has captivated exhibitors and 
their patrons everywhere as a 
motion picture masterpiece, and 
“The Isle of Zorda,” the celebrated 
European picturization of Jules 
Verne’s novel of ideal heroism 
called “Mathias Sandorf.” 

The new Harold Lloyd multiple- 
reel comedies are, of course, 
“features,” but are announced in a 
classification by themselves. After 
nearly two years, the lyrically beau- 
tiful and faithfully produced Rud- 
yard Kipling special, “Without 
Benefit of Clergy,” retains all over 
the country the vitality that is 
characteristic of a true classic. 


Fun Films Tax 


Roach Studios 


Reports from the Hal Roach 
Studios at Culver City describe 
extensive new building on the 
lot and additions to equipment 
made necessary in living up to 
Pathe comedy preparedness for 
the coming year’s bright business 
outlook. As all exhibitors are 
aware, Pathe distributes the en- 
tire Hal Roach comedy output. 
Under the new contract made at 
the beginning of this year, this in- 
cludes a series of multiple-reel 
productions starring Harold 
Lloyd. 

The advancement of “Snub” 
Pollard as the star of two-reel 
laugh sensations, with the added 
exactions of the longer form, im- 
poses a fresh demand on the re- 
sources of the Roach Studios. 
Pathe announces a first series of 
six Pollard two-reelers, directed 


by Charles Parrott with Marie 
Mosquini, “Sunshine Sammy” 
and a picked supporting cast, for 
release one every four w^eeks be- 
ginning in September. 

The one-reel comedies bearing 
the Hal Roach trademark, which 
will continue to be released one 
every week, include productions 
featuring Paul Parrott. 

In the meantime Hal Roach has 
added to his producing equipment 
a “zoo” of highly trained domes- 
tic animals which, together with 
a group of talented and unterri- 
fied kiddies constitute a new pro- 
ducing unit engaged in making 
the two-reeler series for Pathe 
distribution under the general ti- 
tle of “Our Gang” Comedies. 
There are thirteen in the series, 
to be released one every four 
w r eeks beginning September 10 
with “One Terrible Day.” 


Range Rider Series 
Inaugurated 

Acting upon the recommendations 
of shrewd showmen who have found 
that their patrons demand bang-up 
action and fast-riding thrills, Pathe 
has contracted to release the "Range 
Rider” series of two-reel Western 
dramas, featuring Leo D. Maloney. 
There will be twenty-six in the 
series wffiich has been scheduled for 
release one every two w T eeks, start- 
ing with “His Own Law,” to be re- 
leased September 3, followed by 
“Come and Get Me,” to be released 
September 17. 

Leo D. Maloney, the star of the 
series, is declared to add a new per- 
sonality to similar presentations of 
realistic Western life — a youthful 
and electric personality and dare- 
devil horsemanship that is irresisti- 
ble. He is a native of California 
and his career was confined to ranch 
life until he felt the lure of the silver 
sheet. Maloney has already appeared 
in Pathe short reels and has also 
been seen in big Western produc- 
tions of other companies. 



IMPORTANT COGS IN THE SMOOTH-RUNNING PATHE MACHINE 

Left to Right: Miles Gibbons, Short Subject Sales Manager; Edgar Brooks, Serial Sales Manager; Edward Eschmann, General 
Sales Manager; John Storey, General Representative; Arthur Rousseau, Export Manager. 


September 2, 1922 


MOVING PICTURE WORLD 


39 


Pathe Policy One 

of Square Dealing 


By E. A. ESCHMANN 

General Sales Manager 


Neighbors 


Striking is the promptness 
of exhibitor response to the 
screen magazine progress 
demonstrated by Pathe Re- 
view during the past year. 
Theatre owners and manag- 
ers in renewing their 
contracts, and in making 
many hundreds of new ones, 
refer to their patrons’ expres- 
sions of delight over the 
beauty and the variety of en- 
tertainment contained in this 
reel, which greets them, fresh 
and new, every week in the 
year. 

Audible comments are 
quoted which fully justify the 
Pathe Review slogan — “Makes 
all the world your neighbor.” 

“Not only have we tried to 
improve the quality of the in- 
dividual subjects that enter 
into the reel,” says Editor 
Emmanuel Cohen, “but also to 
vary the nature of the sub- 
jects so as to give each a more 
general interest and universal 
appeal.” 


Laughter Series Is 
Generally Liked 

A cock-sure laughter series that 
stands the test of the widest 
weekly distribution year after 
year, briefly stated is the present 
record of “Topics of the Day,” 
produced by Timely Films, Inc., 
and released by Pathe. This “joy- 
reel,” now in its fourth year, liter- 
ally “makes millions merry” 
throughout the whole nation. 

These half-dozen minutes each 
week of screened wit and current 
comic human philosophy culled 
from the brightest publications 
printed here and abroad are 
praised by thousands of exhibi- 
tors, for whom Manager Paul of 
the Majestic Theatre, Ontario, 
Oregon, virtually speaks, as well as 
for himself, as follows in a recent 
letter to the producer. 

“I firmly believe that there is no 
other reel on the market that can 
add the little touch of tone to the 
program, or put the audience in 
the frame of mine where it can re- 
lax and enjoy the rest of the show, 
like “Topics of the Day.” When 
it is flashed on the screen it seems 
to give the people in the house 
a sort of ‘at home’ feeling. They 
know that it is going to say 
something funny about a barber, 
a butcher, or somebody locally 
that the joke can be applied to, 
and patrons immediately set 
themselves to appreciate it. And 
when your audience has put them- 
selves in that frame of mind, you 
have got to have a pretty rotten 
picture following before you will 
hear any complaints.” 

Reviewers and editors go on 
record along the same line — for 
example, W. L. Wood, city editor 
of the Evening World, Durango, 
Colo., who prints : “Durango peo- 
ple greatly enjoy ‘Topics of the 
Day.’ It has become an institu- 
tion here, and people are deeply 
disappointed if they do not see 
it.” 


The motion picture business, 
like all other branches of Amer- 
ican commercial activity, is on the 
eve of a most productive era. Ev- 
ery student of sound merchandis- 
ing realizes that we have pulled 
through a mighty difficult period. 
The ultimate arrival at prosper- 
ity will be governed solely by the 
route taken. If we se ect the 
straight line as being the short- 
est distance between two points, 
our progress will be the more 
rapid and positive. 

In the case of business we may 
liken this geometrical theorem re- 
garding a straight line to fair and 
square dealing between seller and 
buyer. If ever confidence were 
required between these two fac- 
tors in merchandizing, now is the 
time when it is absolutely essen- 
tial. 

It is the recognition of these 
requirements that makes possible 
the continuation of our sales pol- 
icy for 1923. The expression 
“Pathe Policy” has come to mean 
something very definite to exhi- 
bitors nationally and internation- 
ally. It is synonymous with 


The growing importance of 
short subjects is due, in a great 
measure, to the realization on the 
part of the exhibitor of the abso- 
lute necessity for building up pro- 
grams which will appeal, not 
only to 50 or 60 per cent, of his 
possible clientele but to the full 
100 per cent. 

In order to draw 100 per cent, 
audiences regularly, the various 
groups which go to make up an 
audience must be given the par- 
ticular type of picture which has 
the strongest appeal. Hence the 
necessity for the variety which 
can only be supplied by the short 
subject. In many cases, the five- 
reel picture, even though it may 
show a famous star, may not ap- 
peal strongly to more than 50 per 
cent, of the audience, leaving it 
to the news reel, comedy and oth- 
er short subjects to pull the pro- 
gram through and send the au- 
dience away with that satisfied 
feeling. 

The short subject also has a di- 
rect effect on the box office, es- 
pecially so in these days when the 
patron is very much given to 
“shopping.” The announcement 
of “Pathe News Today” frequent- 
ly is the straw which turns, say 
10 or 15 per cent, of the “shop- 
pers” towards the box office A 
sign reading, “Lloyd Re-issue 
with ‘Snub’ Pollard and Bebe 
Daniels” has a still stronger ef- 
fect on the box office. The an- 
nouncement of Leo Maloney in 


straight-forward business prac- 
tice, square dealing agreements 
based on eminently equitable 
premises. 

Concretely, Pathe policy holds 
that “unless it is fair to the ex- 
hibitor it is not worthy of Pathe.” 

We, dealing in such a variety 
of product, automatically possess 
an opportunity to force the book- 
ing of fair subjects by tying them 
up with subjects of extreme merit. 
That kind of practice, however, 
mitigates against a constructive 
exhibi tar- distributor understand- 
ing and would immediately admit 
of a shortsighted policy. 

Each and every subject and se- 
ries of subjects distributed by us 
is sold on its individual merit. In 
other words, Pathe never at- 
tempts to “club” an exhibitor with 
“leader product.” If a prospec- 
tive customer wants the best that 
we have, he knows he may rent 
it without having anything tied 
to it. Our contracts being instru- 
ments of equitable expression se- 
cure commitments made to us by 
our customers and commitments 
made by our customers to us. 


one of the “Range Rider Series” 
would certainly deflect a great 
percentage of the vast multitude 
who are particularly keen for 
westerns and send them along to- 
wards the cashier. 

As each well-built program 
must include at least three short 
subjects, each one of which 
should be of an entirely different 
type, the necessity for a large and 
varied line of short subjects is 
clearly seen. Pathe, in its desire 
to supply the demands of all ex- 
hibitors, announces for the com- 
ing season one of the largest lines 
of short subjects ever offered. 

Each Serial Star 
Distinctive 

Pearl White, Ruth Roland and 
Charles Hutchison, the three stars 
of Pathe serials, each typify a 
different and distinctive personality 
in the chapter play, and therefore 
each has met with particular favor 
with the exhibitor and his audience. 

Pearl White has always been 
known as the “Queen of Mystery, 
Intrigue and Romance.” Ruth 
Roland has always been called the 
“Outdoor Girl,” a name that has 
fastened itself to her because of her 
daring exploits amid outdoor 
settings. The “thrill-a-minute stunt 
king” is the title which has stuck to 
Charles Hutchison since his venture 
into Pathe serials in “The Wolves 
of Kultur.” 


Grow in Favor 


The fact that the Pathe 
Playlets continue to grow in 
favor with exhibitors proves 
that Pathe officials had their 
fingers on the public’s pulse 
when they inaugurated the 
idea of cutting down and re- 
editing their former feature 
successes into three-reel fea- 
tures. 

Many showmen have used 
the offerings as the backbone 
of their programs, cashing in 
on the wonderful exploitation 
possibilities which gave them 
a big star, a big director and 
a story by a well-known au- 
thor. And even among the 
players of the different Play- 
lets are found names of those 
who have reached stardom re- 
cently. 

More Johnny Jones 
Comedies 

Of the new product contained in 
Pathe’s comprehensive list of short 
subjects the “Johnny Jones Come- 
dies” are in a highly attractive class 
by themselves. Opposite him is 
dainty and talented little Gertrude 
Messinger. 

Pathe announces a series of six 
“Johnny Jones Comedies” for re- 
lease, one every four weeks, be- 
ginning on July 30 with the two- 
reeler called “Supply and Demand.” 
The second release of the series 
bears the self-explanatory title of 
“Makin’ Movies.” 


Intimate Views 

There is only one “Screen Snap- 
shots” reel, and Pathe is its dis- 
tributor — releasing one every two 
weeks. Its originators and pro- 
ducers, Jack Cohn and Lewis Lewyn, 
in warning exhibitors not to confuse 
this widely popular “fan magazine 
of the screen” with imitations bear- 
ing a similar title, give notice that 
“Screen Snapshots” is fully protected 
by copyright, and the new and better 
series released by Pathe only. 



PEARL WHITE 

Has Returned to the Pathe 
Fold. Her First New Chapter 
Play Is Called “Plunder.” 


Rich, Varied List 

of Pathe Shorts 

By MILES GIBBONS 

Short Subjects Sales Manager 


40 


MOVING PICTURE WORLD 


September 2, 1922 


How to Make Success 
of Exploitation 

By VICTOR M. SHAPIRO 

Exploitation Manager 

Exploitation is a combination 
of art, science, brains, ingenuity 
and originality applied to the 
showing of motion pictures. To 
achieve an effect, to draw pa- 
trons, to deliver dollars at the 
box office, exploitation must be 
daring, distinctive, and sparkling 
with brilliance. New wells of in- 
terest must constantly be tapped. 
New ideas must be created, nov- 
elties pregnant with power, must 
be woven from an airy thought 
to concrete ballyhoo. 

Whether the theatre owner 
builds his exploitation around his 
feature, whether he concentrates 
on short subjects, or whether he 
emphasizes courtesy, atmosphere 
and charm, his exploitation labels 
him either as an exhibitor or a 
showman. 

If he is smug, if he is satisfied 
with his house, if he believes that 
he has hit the heights of achieve- 
ment with his lobby display, his 
projection, his courtesy, his music, 
his advertising and publicity, he 
is a mere exhibitor. His mind is 
shut to ideas. There are cobwebs 
in his clock. 

If, however, in his makeup there 
is that something which is con- 
stantly stirring him to do the 
different, to devise new ideas, to 
apply his personality to his the- 
atre, to keep his patrons alive and 
alert to his endeavors, whether 
it be by posters, prologues, mu- 
sic, unique lobby, or careful ad- 
vertising, then he is a showman. 

Exploitation is merely the 
lengthened shadow of the man 
whose human touch dominates 
his theatre. To exploit some- 
thing that everyone has exploited, 
is easy; but to make a success 
along a virgin path and blazing a 
trail which others follow, that is 
a showman. 



GEORGE B. SEITZ 

Producer and Director of the 
Pathe Serials. Now Directing 
Chas. Hutchison and Pearl 
White. 


Evolution of the 

Noted Pathe Serial 

By EDGAR O. BROOKS 

Serial Sales Manager 


The continued motion picture 
dramas released under the copy- 
righted trade-name of “Pathe 
Serial,” of which the latest example 
is “The Timber Queen,” featur- 
ing Ruth Roland, are very differ- 
ent indeed from what is gener- 
ally understood by the word “se- 
rial.” 

Over two years ago we realized 
that the “hokum” serial, replete 
with gunplay, murder and an- 
achronism, was headed for the 
same destination as the dime 
novel of similar construction. It 
was up to us as the House of 
Serials to make another forward 
move, for no one can gainsay the 
fact that Pathe has ever been in 
the forefront of progress on 
chapter plays. 

Therefore our producing units 
were given very definite instruc- 
tions regarding the types of 
stories which were to be con- 
structed for future “Pathe Se- 
rials.” They were to be written 
and built in the standard length 
of fifteen weekly episodes or 
chapters, but in no case were 
crime or criminals to be repre- 
sented as other than despicable, 
there was to be an utter absence 
of gunplay or murderous attack 
with other weapons, and above 
all they were to be positively 
clean and wholesome in every 


particular with plausible stories. 

The first real step toward cen- 
sorproof “Pathe Serials” was 
taken when we selected Robert 
W. Chambers’ thrilling novel, “In 
Secret,” as the vehicle for Miss 
Pearl White’s starring appearance 
in “The Black Secret” and this 
proved to be one of our “best sell- 
ers.” Its success was instanta- 
neous. Shortly after this we fea- 
tured Jack Dempsey in “Dare- 
devil Jack,” which also had a 
wonderfully successful sale both 
here and abroad. Then followed 
Ruth Roland in what was at that 
time the most popular “Pathe Se- 
rial” she had ever starred in, 
“Ruth of the Rockies.” 

Coming down to more recent 
times, "The Timber Queen” is 
the fourth of a series of really 
phenomenally popular censor- 
proof “Pathe Serials.” We had 
gotten into our real stride when 
producing “Hurricane Hutch,” 
with that daredevil stunt king, 
Charles Hutchinson, in the title 
role, and this was really the first 
positively censorproof “Pathe Se- 
rial” — so much so, in fact, that it 
has been played by churches, 
schools, Y. M. C. A.’s and edu- 
cational institutions all over the 
country as an example of Ameri- 
can prowess of the most perfect 
type. 


Pathe Is Greeted i 
Cordially Abroad 

By A. E. ROUSSEAU 

F oreign 


The Pathe Company enjoys a 
most enviable position in the for- 
eign market, due particularly to 
the variety of the films on its 
program. First of all, there are 
the Pathe serials which have con- 
tributed in no small measure to- 
wards the maintenance of the 
Pathe prestige throughout the 
world ; then, the strong array of 
comedies, headed by the Lloyd 
feature series, re-enforced by the 
Lloyd one-reel comedies which 
are now being re-issued practi- 
cally everywhere. 

“Snub” Pollard and Sunshine 
Sammy, who each head a series of 
two-reel comedies, are better 
liked abroad than many promi- 
nent feature stars, and the hu- 
mor in the Johnny Jones com- 
edies is bound to appeal espe- 
cially to foreign audiences. The 
unlimited possibilities of the char- 
acters in Aesop’s Fables have cre- 
ated for these cartoons an unus- 
ually strong demand, and under 
the Pathe banner, the Screen 
Snapshots are being introduced 
into territories where they have 
never been before. 

The high class of the Pathe west- 
ern dramas has revived the mar- 
ket for this product in many 
countries, and to supply the de- 


Manager 

mand for a good news film in 
Latin America, a special edition 
of the Pathe News, with Spanish- 
English titles, is being published 
weekly. 

The feature end is made up of 
the Associated features, which dur- 
ing the past season, included some 
of the greatest independent suc- 
cesses such as “The Devil.” “The 
Riddle Woman,” “What Women 
Will Do” and a series with such 
popular stars as Florence Vidor 
and Leah Baird. To these Asso- 
ciated features are added the big 
Pathe specials, such as “Xanook 
of the North,” which has been 
given an even better reception 
abroad than the picture has re- 
ceived here. 

The new Pearl White serial, on 
which production has commenced, 
promises to break all records, 
judging from the most alluring of- 
fers which have been received 
from foreign territories. 

The Pathe foreign distribution 
system has been organized with 
the object of obtaining the largest 
possible distribution throughout 
the world, and wherever the com- 
pany has been unable to make 
satisfactory arrangements for the 
sale of its product, it maintains 
its own distribution. 


Exhibitors Realize 
Lloyd’s Worth 

In many respects the most im- 
portant item in Pathe’s release 
schedule for the season of 1922-3 
will be the Harold Lloyd feature 
comedies made under the new 
contract which was announced 
the early part of last winter. 
Since that announcement was 
made, Pathe has received abun- 
dant evidence that the time has 
gone by when exhibitors needed 
to be reminded that the name of 
Harold Lloyd as the star of mul- 
tiple-reel comedies is not exceeded 
in drawing power. 

Lloyd has now completed the 
first of his new Pathe multiple- 
feel comedy features. It is called 
“Doctor Jack” and will be an- 
nounced for release some time 
this fall. It presents Mildred 
Davis in the role opposite the 
star, and in the supporting cast 
are several of the popular fav- 
orites whose work is especially 
appreciated in the Hal Roach unit 
which produces Lloyd comedies. 

Other of the new Lloyd com- 
edy features will be announced 
as they are completed and be- 
come ready for release. Under 
the terms of the new Pathe-Lloyd 
contract, neither the frequency 
nor any exactly specified length 
of these releases is stipulated. 
Beyond the understanding that 
they shall be multiple-reelers. 
Lloyd and his producer, within 
reasonable limits, exercise their 
own judgment in these matters. 

The enormous success of 
“Grandma’s Boy” made for Asso- 
ciated Exhibitors, at leading West 
Coast theatres, has deferred the 
general release of that Lloyd pro- 
duction until earL’ in September 
— which naturally defers until a 
later date the release of “Doctor 
Jack.” In this connection, exhi- 
bitors will see significance in the 
fact that on July 27, on the fourth 
day of the eleventh week of the 
continuous run of “Grandma's 
Boy” at the Symphony Theatre, 
Los Angeles, the management had 
to telegraph for a new print, as 
theirs was completely worn out. 



HAL E. ROACH 

Producer of Harold Lloyd 
Feature Comedies and Hal 
Roach Comedies. 



September 2, 1922 


MOVING PICTURE WORLD 


41 


In the Independent Field 


Sa) ROGER FERRI 



Newsy Bits 


Supreme Pictures Corporation of 
Omaha report that they are doing 
their greatest business on “School 
Pays.” 


Greater Productions, Inc., of 
Omaha reported this week the sign- 
ing of two important contracts for 
A1 Lichtman and Warner Brothers' 
product. 


Bill Haggerty has rejoined the De 
Luxe Film Exchange of Philadel- 
phia and started this week on the 
sxploitation of the many pictures that 
firm is handling. 


Fontennelle Feature Film Company 
>f Des Moines, la., this week reported 
•he purchase of the following product 
[or 1922-23: Eight .Tack Hoxies Pete 

Morrison features, four Peggy O’Day 
race track pictures. Tweedy Dan com- 
edies, “Cap’n Kidd’’ with Eddie Polo, 
“Man From Hell’s River” and “The 
Sage Brush Trail” and six two-reel 
Mounted Police pictures. 


Enterprise Distributing Corporation 
of Omaha this week in its annual an- 
nouncement made it known that it 
will handle all the Affiliated Dis- 
tributors. Inc., product, including “I 
Am the Law” and “Sure Fire Flint,” 
Franklyn Farnum Westerns, the Roy 
Stewart series, and others. 


Liberty Films. Inc., of Omaha an- 
nounce that they will release “Hearts 
of the World” as a road attraction 
in Iowa and Nebraska. 


Phil Monsky of the Liberty Films 
Company of Omaha is spending a 
hard-earned vacation in Colorado. 


David Segal of Royal Pictures. Inc., 
of Philadelphia has acquired a fran- 
chise in the Amalgamated Produc- 
tions, Inc., which is now being 
formed. This company intends to 
release 26 pictures annually and will 
distribute them to exchanges on a 
co-operative basis. 


George Fecke of Motion Picture 
Distributors. Inc., of Boston reported 
this week that in all probability he 
will stage the premier showing of 
“Yankee Doodle ,Tr.” at the Victory 
Theatre in Providence, R. I., late next 
month. 


Virtually all of the Philadelphia in- 
dependent exchangemen wandered to 
Atlantic City, N. T. on August 20 and 
21, attending the first annual outing 
of the Motion Picture Theatre Own 
ers of Eastern Pennsylvania. Of 
course, a good time was had by all. 


Sam Werner of Werner Exchange, 
St. Louis, returned to his home in 
Missouri late this week following a 
busy visit to New York. Sam is the 
oldest film man now in business in 
St. Louis, but he is still very much 
on the man and his exchange is doing 
a wonderful business. 


Sam Zierler of Commonwealth Pic- 
tures Corporation of New York is 
looking forward to an unusually big 
season and consequently has con- 
tracted for the biggest pictures in 
the market. Sam smilingly informed 
this department this week that the 
A1 Litchman feature, “Rick Men’s 
Wives,” had played to something like 
16,000 people at the Capitol last Sun- 
day. 


Sarah Rappoport has resigned from 
the office staff of Filkins & Murphy 
in Buffalo to accept a nnsition with 
Manager Howard F. Brink at the 
Educational Exchange. 


The Week in Review 

M ONEY talks. That’s an old adage. But it’s good enough for 
the picture business. And if money really rules supreme in any 
business, then here is one industry that is in for its greatest year. 
This statement is made because of the presence of considerable 
money in this branch of the business. Glance through the following 
pages and you will be convinced that there has been a wholesale 
exchange of money in the trade. And where there must be money 
there must be considerable doing. And where there is considerable 
doing there is bound to develop an era of prosperity. And if there 
is prosperity and money — and money really talks, there is only one 
thing to be done and that is for every independent to get his full 
share. How? By giving the trade what it wants, doing business in 
a straightforward progressive manner. 


TIT" E received a newsy letter this week from Harry Rapf. one of the 
rr best money-making producers to be found anywhere. Harry is on 
the Coast turning out pictures for Warner release. Already he has com- 
pleted two, “Little Heroes of The Street” and “Rags To Riches,” both with 
Wesley Barry starred. But that is incidental in this particular instance. 
Harry doesn’t waste words. But he has observed a whole lot on the 
Coast. He looks forward to a big independent year and postscripted the 
information that he had seen ten big productions that, in his opinion, 
should jam the theatres. And these pictures are to be distributed in the 
independent market. 


O UR sincere congratulations to A1 Lichtman and Ben Schulberg 
for the splendid production they have given the independent 
market in Gasnier’s “Rich Men’s Wives,” which we saw draw thou- 
sands on Broadway and in Paterson, N. J. If “Rich Men’s Wives” 
is a sample of what the trade can expect from the A1 Lichtman Cor- 
poration, there need be no worry among exhibitors, for it will mean 
the very best. Let’s have more like “Rich Men’s Wives,” just as 
rich, entertaining and colorful. 


T HIS is the cleanup period for some of the distributors. Many 
of them finished the 1921-22 season with deficits that almost 
drove them out of business. A majority of these deficits were 
brought about because of the inability of exchangemen to pay. 
Those who were honorable and made known their inability to meet 
obligations must, of necessity, be classified as victims of “bad times.” 
But there were some who did turn in bad notes and made idle promises 
— promises they never intended to keep. And this is the breed 
that is being cleaned up and cleared out of the business. Several 
well-known film attorneys have taken steps to force these persons 
to either pay up or get out. Satisfaction, however, may be found 
in the fact that most of these had to toss in the sponge some time 
ago. 


TJ/ r ARNER Brothers opened their New York exchange, located on the 
rr ninth floor of 1600 Broadway. There on Monday virtually anyone 
who was anybody in the him business came to congratulate Harry M. 
and Abe Warner and Charley Goetz, that livewire who has been elected 
to guide the destinies of the exchange, zvhich ithll release all the Warner 
product. 


H AVE you noticed the press books independent distributors are 
publishing? We have. And we’ll say that they are gems. Some, 
of course, are worthless, but the leaders in the business are getting 
out books replete with helpful information, attractive and business- 
getting accessories, practical exploitation suggestions and newsy 
publicity. And for this progressive change the trade has Nat Roth- 
stein, Charley Davis, Eddie Bonus, Weshner-Davidson, A1 Licht- 
man, Lyn Bonner, Esther Linder, Conlon & Howe, and a number of 
others whose names we can not recall right now to thank. 


S EPTEMBER is “show you month.” And a month that gives inde- 
pendent men a golden opportunity to show the industry in gen- 
eral that we mean business. Let September open your season with a bang. 
Arrow already has started the ball rolling. How about you. and you 
and you. Get busy now. ROGER FERRI. 


Trade Notes 


Fred H. Kirby, who formerly cov- 
ered the Charlotte, N. C., territory 
for Arthur C. Bromberg' Attractions 
of Atlanta, has been assigned to the 
exchange located in the latter city. 


Capt. Kinder, who is handling “The 
Parish Priest” through the Columbia 
Film Service of Pittsburgh, reports 
big business on that picture, which 
had a somewhat interesting career, 
but which when allowed to show on 
its merit went along like a house 
afire. 


Ivan Abramson, Mary Anderson 
and others went to Asbury Park, N. 
J., last Sunday where a special show- 
ing of “Wildness of Youth,” for the 
benefit of the ornhans there at the 
Main Street Theatre. 


Frank Hard is doing splendid work 
for the various Harry Charnas en- 
terprises in Ohio, Michigan and 
western Pennsylvania, reports from 
exhibitors in those territories being 
a true testimonial to that nice pub- 
licity man. 


Bobby North of the Weber-North 
Exchange of New York City is look- 
ing forward to the greatest season- 
in the history of the film business 
and remember Bobby is not one of 
those film men who is inclined to kid 
himself. 


Prospective franchise holders of the 
Amalgamated Exchanges, which are 
in process of formation, held a meet- 
ing in New York this week. Nothing 
of any definite nature was given out 
for publication, however. 


J. Fred Cubberly, who is now de- 
voting all his time to the F. & R. 
Exchanges in Minneapolis, informed 
this department that he has per- 
fected a new booking arrangement 
with exhibitors in his territory. The 
plan is practical and mutually bene- 
fitting and at the proper time will 
be disclosed in this department ex- 
clusively. 


Dr. W. E. Shallenberger, President 
of Arrow Film Corporation, is de- 
veloping into quite a globe trotter. 
Recently he hurried to the Coast and 
back, closed a number of deals, 
rushed to Boston and back, and this 
week we find him commuting between 
Washington and New York. 


Charles Seelye of the New York Ar 
‘row Exchange is having no trouble 
annexing product for next season, for 
the Arrow program seems to include 
features and short subjects of every 
description. 


Ralph Mau. formerly assistant 
booker at Buffalo’s Paramount office, 
has resigned to join Ralph Mverson 
of Macmy Pictures, a new Buffalo 
organization getting out a local topics 
reel. 


Fred M. Zimmerman, president and 
general manager of Nu-Art Pictures, 
has appointed F. F. Kimmerly in 
charge of the company’s Albany of- 
fice. Mr. Kimmerly succeeds Robert 
Bertchey, resigned. Ben Levine is 
now a special representative for Nu- 
Art. Mr. Zimmerman is now enjoy- 
ing a fishing trip at Chippewa Bay 
in the Thousand Island country. 


Sydney Samson, manager of the 
Grand & North Exchange in Buffalo 
has signed up for “The Curse of 
Drink” for Western New York State. 
Syd also has taken on a new Haynes 
business coupe. The Grand & North 
staff is now installed in its new ex- 
change building in Franklin street. 


42 


MOVING PICTURE WORLD 


September 2, 1922 


New Syndicate Assures 

Break for Independents 

From the leading Broadway legitimate theatre booking offices 
this week came a proposition of particular interest to independent 
producers who have been kept out of the White Way houses be- 
cause of the prohibitive terms sought by those who operate those 
motion picture pavilions. The theatre map of Broadway is to 
undergo several important changes during the next few months 
and the independent distributors will profit by this step. 


A certain independent distributor 
last week approached the managing 
director of one of the Broadway 
theatres for a special run of a big 
State rights picture. However, the 
terms sought by the theatre man was 
so prohibitive that the deal fell 
through. Only this week Weiss 
Brothers made the Metropolitan 
Opera House a flat offer of $14,- 
000 a week for use of that house and 
$8,000 for the same period for the 
Astor Theatre. 

Reports from virtually every section 
of the country indicate a rise in busi- 
ness. The bigger State rights pic- 
tures are going big, particularly in 
the smaller cities and towns, this 
omen prompting keen observers to 
look forward to a good season. 


For detailed information and a con- 
crete idea of how State rights pic- 
tures are going in every territory the 
reader will find it to his advantage 
to consult every week our energetic 
Van Powell's “Straight From the 
Shoulder Reports.” This department 
is the only dependable one of its 
kind and almost entirely contributed 
to by shrewd showmen, who speak 
from their experience on pictures on 
which they report. You can’t go 
wrong by keeping tabs on the pic- 
tures through Van’s growing depart- 
ment. 

.Toe Rock's comedies are going over 
like a house afire in Nebraska, judg- 
ing from reports coming from here. 
This week Eddie Monoghan of the 
Hamilton Theatre in Omaha sent in 
a report that those comedies consti- 
tute his best short subject bet. 


Here’s one that will make C. O. 
Burr smile and echo "I told you so.” 
Says A. E. Fair, director of theatres 
of" Southern Enterprises. Dallas. 
Tex. : “ ‘I Am the Law’ is a knock- 

out. When I signed a contract book- 
ing this picture I was told by the 
exchangeman that a generous profit 
was in store. I replied that the sales- 
man was ‘all wet.’ But now that 
I’ve shown the picture, I don't mind 
telling you that we topped every 
mark and did the biggest business 
in the history of our theatres — and in 
the hot spell, too.” 


“Ten Nights in a Barroom,” star- 
ring .John Lowell, is still cleaning up 
in the Middle West, despite the heat 
and other adverse conditions. Irwin 
Beck of the Moon Theatre. Wilbur. 
Neb., said he jammed his house for 
two nights, the length of the en- 
gagement. 


“Shepherd of the Hills.” which is 
being road showed through Minne- 


“Mme. Sans Gene” 
Almost Ready 

Another independent is slated 
for early distribution in the 
form of “Madame Sans Gene,” 
which Producers Security 
Corporation will State right 
when completed. Aubrey 
Kennedy is making the pro- 
duction through special 
arrangements made with the 
Admiration Film Company. 


sota, has been doing good business, 
but showmen out there are skeptical. 
Jerru Wertin of the Winter in Al- 
bany. Minn., booked the show, which 
was to be elaborately exploited, but 
he charges that the owners of the 
picture flopped on this promise, al- 
though he claims having done a sat- 
isfactory business. 


“Ashamed of Parents,” the Warner 
feature, dropped in Princeton, Minn., 
but Manager Mrs. M. C. Kruschke of 


Harry Charnas, President of 
Standard Film Service, with ex- 
changes in Pittsburgh, Cincinnati, 
Cleveland and Detroit, is apparently 
looking forward to the greatest sea- 
son in the history of the business, 
for he is making elaborate plans to 
open the coming season with a bang. 
Mr. Charnas has tied up some of 
the best product in the independent 
field, but in order to give the ex- 
hibitors in his territory an idea of 
just what he will have to offer in 
1922-23, he has arranged a special 
ceremony, which will be in the na- 
ture of a tour of all four exchange 
centers. The exhibitors, prominent 
national film executives, and national 
and regional press editors will be the 
guests of Mr. Charnas and his or- 
ganization. 

The tour, which is an annual af- 
fair, will this year be even greater 
than that of previous years. No 
expense will be spared in giving the 
guests the time of their lives as well 
as convince exhibitors that they 
can expect only the best in the inde- 
pendent market and maximum ser- 
vice from Standard Film Service 
this year. The trip will be made in 
special trains. The itinerary fol- 
lows : Pittsburgh, Sept. 10 ; Cincin- 
nati. Sept. 11; Detroit, Sept. 12, and 
Cleveland, Sept. 13. 


Ernest Van Pelt, traveling repre- 
sentative of Sacred Films, Inc., pro- 
ducers and distributors of the Bible 
series of one-reelers. is in the West, 
meeting distributors and locally ex- 
ploiting those pictures, 


the Strand said the lack of attend- 
ance could not be attributed to the 
picture, for those who saw it, she 
says, were satisfied. The weather, 
she adds, was against theatre pat- 
ronage. 


“Any Night” is having quite a 
stormy sail in Maryland, despite the 
fact that the picture is being well 
exploited. 


William Fairbanks, who has signed 
to produce Westerns for Arrow Film 
Corporation, is popularizing himself 
considerably, if exhibitors’ reports 
are to be accepted as any criterion. 


Though played out in most terri- 
tories, C. C. Burr’s “Burn ’Em Up 
Barnes.” starring Johnny Hines, is 
doing big business in New England, 
where that picture is being cleverly 
exploited by Sam Moscow of Mos- 
cow Film Corporation of Boston. 


F. S. Mattison, sales representa- 
tive for Tweedy Dan comedies and 
of Sanford Productions, is coming 
East, stopping off at all exchanges 
en route. 


Manager A1 Rosenberg of the De 
Luxe Feature Film Company of Se- 
attle has purchased “Flesh and 
Blood," with Lon Chaney, from West- 
ern Pictures Exploitation. This ex- 
change will also handle the A1 Licht- 
man pictures. 


Charles R. Gilmore of the Arrow 
Exchange in Seattle, has recovered 
from his recent illness and is now 
very much on the job. He left this 
week for Los Angeles for a limited 
stay there. 


Judging from reports from exhibi- 
tors and exchangemen in the South, 
the situation there is clearing rapid- 
ly. Business at the bigger houses 
there during the past week took a 
decided jump upward. 


Exchangemen handling A1 Licht- 
man productions can hope for a clean- 
up. if the business done on the ini- 
tial Lichtman special. “Rich Men's 
Wives,” at the Capitol Theatre in 
New York and U. S. Theatre in Pat- 
erson. N. J.. is any criterion. At 
both places records were set up. 


Hart Series Sold 

Export & Import Film Company, 
Inc., who controls the foreign 
rights on a series of Neal Hart 
five-reel features this week an- 
nounced the sale for Cuba and 
Venezuela of six subjects, namely, 
“Hell’s Oasis,” “Danger Valley,” 
“God’s Gold,” “Black Sheep,” 
“Kingfisher’s Roost,” and “Sky- 
fire.” Qther sale? are now pend- 
ing, 



WILLIAM FAIRBANKS 
Ben Wilson star who will make 
series of Westerns for Arrow 
Film Corporation 

Many Buyers 

Come East for 
S. R. Features 

Buyers from as far west as Cali- 
fornia besieged New York last week 
in anticipation of the greatest inde- 
pendent year in the history of mo- 
tion pictures to acquire territorial 
rights to state rights productions. 
While about two months ago money 
was as scarce as gold coins in Rus- 
sia, the buyers who came to New 
York last week all were prepared to 
pay cash for big pictures, for which 
the demand right now is at fever 
heat. 

Among those who came to New 
York are the following: Gene Mar- 

cus for Twentieth Century Exchange. 
Lou Burman of Independent Film 
Corporation, David Segal of Royal 
Pictures, Inc.. Ben Amsterdam of 
Masterpiece Film Attractions. Inc.. 
David Starkman of Starkman Film 
Exchange, Bob Lynch of Metro Pic- 
tures Exchange, Tony Luchese of De 
Luxe Pictures Corporation, and H 
A. Sherman of Graphic Exchange, all 
of Philadelphia : Harry Segal of 

Pioneer Exchange. Herman Rifkin of 
Eastern Pictures Exchange. and 
George Fecke of Motion Picture Dis 
tributing Corporation, all of Boston: 
Sam Werner of Werner Exchange. St. 
Louis: Frank Zambrini of Unity Pho- 
toplays and Graphic Exchange, Chi- 
cago; J. F. Cubberly of F. & R. Film 
Exchange, Minneapolis: Gene Pearce 
of Pearce Film Exchange. New Or- 
leans: E. H. Emmick. Frank Fay. E. 
E. Richards of Kansas City : Harry 
A. Lande. Sydney Lust of Washing- 
ton, D. C. ; Bill Steiner and many 
others. 


A new co-operative exchange sys- 
tem, made up of independent ex- 
changes in this country, is in the 
process of formation. Definite an 
nouncement of this chain will be 
made in this section exclusively next 
week. 


Tom Moore, the well-known Wash 
ington. D. C.. exhibitor, has entered 
the State rights distributing field in 
that city. He has formed the Fed 
oral Film Exchange and will dis 
tribute films in the District of Co- 
lumbia. Virginia. Maryland and Debt 
ware. 


Last week was a record breaker in 
so far as visits front out of town 
buyers was concerned. Twenty one 
buyers from every section in the coun- 
try came to New York to line tip 
product for next season. 


There seems to be a general cry 
for short subjects among exchange- 
men. who say they are finding a 
dearth of such material Exhibitors 
seem to be clamoring for such sub’ 
jects, 


Warner Brothers Become 

Members of Hays’ Body 

Official announcement was made this week that the Warner 
Brothers had been elected members of the Motion Picture Pro- 
ducers and Distributors of America, of which Will Hays is 
President. An intimation that the Warners were planning join- 
ing the organization was exclusively published in Moving 
Picture World four weeks ago. Warner Brothers constitute 
the first independent distributing and producing firm to join 
the Hays organization, but it is known that three others are 
contemplating similar action. In fact, the application of these 
independents already is in the hands of Will Hays. 

Charnas Planning 

Exchange Boosting 


September 2, 1922 


MOVING PICTURE 


WORLD 


43 


C. C. Burr’s “Sure Fire Flint” 


Completed; 


Hines to Go on 


Tour 


With the completion this week 
of production on the second big 
Johnny Hines’ feature, “Sure Fire 
Flint,” which Affiliated Distribu- 
tors, Inc., of which C. C. Burr is 
the head, that popular star will 
start on an extensive personal ap- 
pearance tour that will take him 
as far as the Coast, appearing in 
every big house en route. His 
appearances will be preceded with 
extensive advertising and exploi- 
tation campaign supervised by 
trained showmen, who will blaze 
the way with considerable paper, 
special stunts and tieups. 

Del Henderson directed the final 
shots for “Sure Fire Flint” at the 
Glendale studio this week. Those 
who have watched the progress 
made on this picture characterize 
it as one of the best of its kind, 
laying particular stress on the 
splendid work of the all-star cast 


and the scenic settings. Not until 
he has completed his personal ap- 
pearance tour will Johnny Hines 
start work on the second of the 
series of four specials that will be 
distributed on the State rights 
market by Mr. Burr, who has de- 
veloped into one of the foremost 
distributors in the business. 

Exchangemen throughout the 
country who have contracted to 
distribute “Sure Fire Flint” in 
their respective territories re- 
ceived heartening news this week, 
when Burr announced that in 
order to meet the edmands of dis- 
tributors on this production for 
early distribution he has arranged 
with the Lyman H. Howe Film 
Laboratories of Wilkes - Barre, 
Pennsylvania, to give special day 
and night service in the develop- 
ing of enough prints on “Sure Fire 
Flint” to route them to all ex- 


Warners Finish Two; 
Start on Two Others 


With the completion of the sec- 
ond Wesley Barry picture, “Heroes 
of the Street,” a Harry Rapf pro- 
duction made for the Warner 
Brothers, preparations were im- 
mediately started by Rapf, Sam 
and Jack Warner, for the filming 
of two novels, it is announced. 

Rapf has begun assembling the 
full cast for Charles G. Norris’ nov- 
el, “Brass,” which will be directed 
by Sidney Franklin. Marie Pre- 
vost will play the leading feminine 
role. Monte M. Katterjohn adapt- 
ed the story for the screen. 

The Warner boys are also as- 
sembling a cast of prominent play- 
ers to interpret F. Scott Fitzger- 
ald’s novel, “The Beautiful and 
Damned.” In this production 
Marie Prevost will share honors 
with Kenneth Harlan. Olga 
Printzlau, who is confining her 
entire efforts to the Warner 
Brothers organization, picturizcd 
the story. 

Julien Josephson, who wrote 
and adapted many of the Charles 
Ray pictures, is completing the 
adaptation of Sinclair Lewis’ nov- 
el, “Main Street,” which will be 
produced by S. L. and Jack War- 
ner. 


“Skyfire” is the title of the latest 
Lester Cuneo picture that Doubleday 
Productions, Inc., is turning out. 
Henry McCarty is directing the fea- 
ture, in which a cast of 22 appears. 


Perfect Pictures Corporation is 
planning production on a South Sea 
island feature, starring Barbara Bed- 
ford. Nat Deverich, it is reported, 
will in all probability direct. 


Ben Wilson has three units work- 
ing at the Bertwilla studio on Santa 
Monica Boulevard. These units are 
headed by Eddie Barry, Monty Banks 
and William Fairbanks. The first 
two are making two-reel comedies for 
Sederated release and the latter 
Westerns for Arrow release. 


Five companies are working out 
at the Fine Arts studio. They are 
Hal per in Pictures, making “Tea With 
a Kick’ ; Perfect Pictures, Cosmopol- 


itan Film Company, Crescent Produc- 
tions, Inc., making two-reel come- 
dies, starring Bonner and Daightery. 
with C. French Burns directing, and 
Doubleday Productions. 


Production on the next Peggy 
O’Day feature, “The Four From No- 
where,” being made by Francis Ford 
at his studio, is rapidly nearing com- 
pletion. Ford is directing and Jack 
White cranking. 


Work has just been started at the 
Long Beach studio on a new feature 
with an all-star cast. C. W. Stater is 
directing. 


Max Graf is applying the finishing 
touch to the Milton Sills feature, 
‘‘The Modern Madonna,” which is be- 
ing made at the San Mateo studio, 
near Frisco. 


Lawson Butt is making “The Fly- 
ing Dutchman” at San Carlos, where 
a Dutch street has been built. Butt 
is directing. 


Robert Bradbury is to direct Jack 
Hoxie in the next series of Westerns. 
The company is at Keen’s Camp 
working on the first of this new 
series. 


„ “ Pe JL c . ef . ul Peters” is the title of the 
first William Fairbanks feature, made 
by Ben Wilson and to be State 
righted by Arrow Film Corporation. 


There is a persistent report afloa 
here that Eddie Polo, who is now i 
Vienna making a serial which will b 
distributed on the independent mai 
ket by him, will more than likel 
sign with Universal again when h 
returns to this country. 


Bruce Mitchell, who is directing th° 
Monte Banks comedies for Ben Wil 
son. is in New York on imnortnnt 
business. He will not return to Hol- 
lywood until early in September. 


Reports received here from East- 
ern State rights distributors by in- 
dependent producers are very en- 
couraging. Feeling here is that the 
independent market is in for a boom 
next season. 


Ernest Van Pelt, traveling ag 
of Sacred Films, Inc., is in ter 
after having covered virtually ev 
exchange centre in the couni 
Larry Wemgarden will in all pr 
ability, shoot East to do some 
ploitation on the Bible series wf 
this company is making at Burba 


changes with all possible speed. 

This arrangement was decided 
upon by Mr. Burr because of the 
general exchange demand for this 
second Hines’ feature, which is re- 
ported to be bigger in story and 
production than “Burn ’Em Up 
Barnes,” the first successful star- 
ring vehicle of Hines, which went 
over to big box office receipts 
wherever it played. Practically 
all of the exchangemen who 
bought in on “Burn ’Em Up 
Barnes” have again contracted for 
this second Hines feature, which 
they intend exploiting widely. 

The Affiliated Distributors include 
Dave Segal of Royal Pictures, Inc., of 
Philadelphia; Roy Seery, Associated 
First National Pictures of Chicago ; 
M. A. Klausner, Mountain States Film 
Attractions of Denver; Louis Hyman, 
All-Star Features Distributing Corp., 
of San Francisco ; Sam Moscow, Mos- 
cow Films, Inc., of Boston; Davis & 
Alexander, Columbia Film Service of 
Pittsburgh; Floyd Brown, The H. 
Lieber Company of Indianapolis: A. H. 
Blank Enterprises of Des Moines; 
William Skirboll, Skirboll Brothers 
Gold Seal Productions of Cleveland; 
J. F. Cubberley, F. & RT. Film Com- 
pany of Minneapolis ; M. H. Klausner. 
Mountain States Film Attractions of 
Seattle; Sam Zierler, Commonwealth 
Pictures Corporation, 729 7th Avenue, 
New York City, and William M. Vogel, 
foreign distributors, 126 West 46th 
Street, New York City. 

What is singularly important is 
the fact that Dave Segal of Phila- 


delphia, Fred Cubberley of Indi- 
anapolis, Bill Skirboll of Cleve- 
land, Roy Seery of Chicago, M. A. 
Klausner of Denver and Seattle, 
and, in fact, all of the exchange- 
men, have already obtained first- 
run showings of “Sure Fire Flint” 
in the leading theatres of their 
respective territories. It is for this 
reason, primarily, that Burr is 
leaving no stone unturned to get 
the completed prints of “Sure Fire 
Flint” to the exchanges as quickly 
as he possibly can. 


Grand Buys 

The five-star state-right feature, 
“The Curse of Drink” was sold by 
L. Lawrence Weber & Bobby North, 
American distributors of the picture 
to Sam Grand, leading exchange- 
man of the New England territory. 
The block of states is one of the 
most important in the country and 
includes Maine, New Hampshire,, 
Vermont, Connecticut and Massa- 
chusetts. 


Saxe With C. B. C. 

Sam Saxe, formerly associated 
in an executive and sales capacity 
with Selznick, has joined the sales 
forces of the C. B. C. Film Sales 
Corporation. 


Railway Strike Holds 
Up Edward Sloman 


A veil of mystery surrounds the 
name of the story that Edward Slo- 
man is said to have selected for his 
next effort as a producer. Since 
completing the filming of Frank R. 
Adams’ popular magazine story, 
“Blind Justice,” Sloman has been be- 
sieged with inquiries from friends, 
admirers and others as to the story 
he would next produce. To some 
he has whispered the type of play 
he has selected, but to none has he 
divulged the name of the story. 

, It is understood from those in in- 
timate touch with Mr. Sloman that 


his forthcoming subject is one that 
has been appearing in serial form 
through one of the largest news- 
paper syndicates of the country. 
The story is said to have been read 
by more than one million people 
and is one of the most gripping and 
appealing stories that has ever ap- 
peared in printed form. 

Owing to the railroad strike situ- 
ation Mr. Sloman has been unable 
to leave his studios in Hollywood, 
Cal., for New York where he plans 
to stage an official trade showing of 
his first personally produced picture, 


WE TOLD YOU SO! 

“The exhibitor has learned that booking HALL- 
ROOM BOYS COMEDIES is like walking into a 
haberdashery and purchasing an Arrow Collar.” 


—MORGAN A. WALSH, Mgr. 
FEDERATED FILM DIST., San Francisco 

THEY THINK SO TOO 


Fed. Film Exch., Boston 
Apollo Exch., New York 
Celebrated Players Film Corp., Chi- 
cago, Milwaukee, Indiana 
Fed. Film Exch., Washington, Balti- 
more 

Standard Film Service Co., Cleve- 
land, Detroit, Cincinnati 


Masterpiece Film Attractions, Phila- 
delphia 

Fontenelle Feature Films, Omaha 
Regal Films, Toronto 
Fed. Film Dist., Los Angeles, San 
Francisco 

Grand-North Exch., Buffalo, Albany 


ALMOST ALL SOLD 
NEW 1922-23 SERIES 
THE BEST INDEPENDENT COMEDIES 


44 


MOVING PICTURE WORLD 


September 2, 1922 


Patersonians Set Record 

Seeing “Rich Men’s Wives” 


Pittsburgh, 

Cleveland. 


Cincinnati, Detroit and 


Eddie Bonns has an augmented staff 
with which to exploit the Warner 
Brothers productions next season. Last 
year he and Lou Marangella did the 
trick, and did it well, too. 


By ROGER FERRI 

PATERSON, N. J.— (Special) — 
That the picture is the thing with 
moving picture fans was again dem- 
onstrated here on Monday, August 
21, when more than 6,000 persons 
paid their way into Peter Adams’ 
United States Theatre to get a 
glimpse at the initial release of Pre- 
ferred Pictures Corporation, “Rich 
Men’s Wives,” which was being 
given a premier showing in this city. 
Despite the fact that Paterson is 
industrially paralyzed, factories here 
having been shut down for many 
months and strikes galore adding to 
the general disorder of things 
locally, the theatre, which is located 
in the extreme end of the main 
thoroughfare, was jammed to its 
doors at every show. 

“Rich Men’s Wives,” cleverly ex- 
ploited and substantiating every 
claim made by its distributors and 
exhibitors, proved the greatest draw 
this house has had in many, many 
months. That it was the picture 
that attracted them, that that same 
picture satisfied and that people 
raved about that picture was 
evidenced by the fact that on Tues- 
day and Wednesday the patrons con- 
tinued coming into the house in as 
large numbers as they came on 
Monday. 

Foster Moore, exploitation man- 
ager for Jans Pictures, Inc., which 
is distributing the A1 Lichtman 
features — and “Rich Men’s Wives,” 
is a sample of what that genial 
showman’s firm has to offer, prom- 
ises great things for those who hold 
franchises and exhibitors who have 
signed for that product — in Northern 
New Jersey, did some splendid work 
in Paterson, for the initial turnout 
exceeded all expectations. To 
Manager Peter Adams this recep- 
tion recalled fonder memories of 
more prosperous days of yesteryear, 
but when the crowd continued to 
come on Tuesday and Wednesday, 
he knew that he had something that 
had satisfied the public, for it was 
word-of-mouth advertising more 
than anything else that brought the 
large attendances on those two days. 

Little newspaper space was used. 
The theatre ballyhooed the picture to 
the sky on the Saturday and Sunday 
previous to the opening, and then 
left the picture to put itself over, 
satisfying themselves with running 
only a three-inch ad. on Monday 
and Tuesday. The picture did the 


by the audience. The more gripping But it is the financial possibilities 
scenes in the production had the de- of “Rich Men’s Wives,” as evidenced 
sired effect, for we will venture to at the Capitol in New York on 
say, judging from the sniffing that Sunday, when it played to about 
was heard everywhere, there was not 20,000 people, and at the U. S. 
a dry handkerchief in the house. Theatre here on Monday, that makes 
The picture went over with a bang, this picture stand out as a sure- 
the work of Claire Windsor, House thing insofar as exhibitor investment 
Peters and the little babe all scoring, is concerned. 


The Weshner-Davidson exploitation 
and publicity forces are doing wonders 
with the various accounts that service 
bureau is handling. They are handling 
the C. C. Burr accounts to the satis- 
faction of that popular producer and 
distributor. 


Tom Bible, exploitation manager for 
Royal Pictures, Inc., of Philadelphia, 
has ideas of his own on Affiliated Dis- 
tributors’ “Sure Fire Flint,” and the 
Lee-Bradford picture, “Determination,’ 
both of which will be exploited on an 
elaborate basis next season. 


64 


Secrets of Paris” Is 
Almost Completed 


Frank Walters is now exploitation 
manager of the Independent Film Cor- 
porations exchanges in Philadelphia 
and Washington. 


The Charles C. Burr-Whitman her Latin temperament. The scene 
Bennett production of the “Secrets in the dungeon showing the rising 
of Paris,” taken from Eugene Sue’s of the waters of the Seine, coming 
romance, “The Mysteries of Paris” in this cellar in which the Prince 
is about half finished. Kenneth and Mayflower (Gladys Huelette) 
Webb, who is directing the picture are held prisoners, has been most 
is more than pleased with the man- cleverly carried out. Mr. Bennett 


Howe & Conlin are handling the 
publicity and exploitation on “Why 
Do Men Marry?” which Unity Pictures 
Inc., is State righting. This firm is 
also exploiting the enterprises of 
Franklyn Backer, head of East Coast 
Productions, Inc. 


Producing in 

San Francisco 

Word comes from San Francisco 
ner in which the big scenes have has taken special care that this scene that Edward Belasco and Victor 
come out. With the assistance of is realistic in every detail. B. Fisher of the Belasco Produc- 

John MacKnight, the two have stag- 
ed three big scenes that is sure to 


meet with the approval of all motion the business 1 ,' 


B. 

tions, Inc., of that city, have signed 
George Proctor, one of the best their company, which will produce 
known publicity men and writers in — - - - - 


Harry Reichenbacker in an exploita- 
tion enterprise. The firm’s offices are 
in the Loew State Theatre Building, 
Broadway and Forty-sixth street, 
Room 1101. Mr. Proctor is open to 
consider the exploitation of indepen- 
dent pictures. 


picture lovers. The biggest scene 
is the fight between the Prince 
(Lew Cody) and The Strangler 
(Montague Love). This battle takes 
place in the famous Rat Hole, a 
cafe so well known to all readers 
of both Sue and Victor Hugo. It 
was the hang-out of all the thugs, 
cut-throats, street women and the 
dreaded apache in Paris. 

In this scene Cody and Love give Bill Haggerty has again joined the 
an exhibition of a fight that will cer- Corporation of Philadelphia. He is 
tainly bring an audience to its feet, starting several big campaigns on De 
The role of the Prince is one said to Luxe pictures, 
appeal to Mr. Cody. He claims it to 
be the best part he ever had and he 
is making the most of it. Another 
big scene is that of the cabaret and e igS^me“t ^“h^WooSi 


wsociltedwith £ nna „ Blake Mezquida’s “Dancing 


Feet. 


A1 Feinman, formerly an indepen- 
dent publicity man, is now connected 
with the short subject department of 
Fox Film Corporation. 


Papal Film Here 

Jaxon Films, Inc., has acquired 
the American distribution rights 
to “The Chair of Peter,” a fea- 
ture which is said to have met 
with the endorsement of Pope 
Pius XI. H. C. McCourt took the 
pictures abroad. 


J. Charles Davis will personally 
conduct the exploitation on Arrow 
Film Corporation’s big fall release, 
“Night Life in Hollywood,” during the 

in 


Atlantic City, N. J. 


dance of the apache. In this Dol- 
ores Cassinelli as a true adventuress _ , _ . . , „ ,, 

is shown in a part that gives her publicity for all four branches of Har- 
every opportunity to bring out all ry Charnas’ Standard Film Service in 


C. C. Burr Billboard Deal 

Boosts Independent Films 


Exhibitor and exchange congratulations are daily pouring into C. C. 
Burr’s office on the intensive nation-wide out-door billboard campaign 
Burr has instituted in behalf of “Sure-Fire Flint.” starring Johnny Hines. 

In New York City alone, the Thomas Cusack Company has erected two 

r .... huge signs, one 40x60 feet at the corner of Broadway and Forty-eighth 

trick. On the opening night, the pic- street, directly opposite the Strand Theatre, the other at Broadway and 
ture was enthusiastically applauded. Seventh avenue. Both of these mammoth painted signs have direct 

illumination and represent two of the big high-lights of Broadway’s White 

Way. In addition to these special signs, the Cusack Company has posted 
approximately one thousand bold type lettered twenty-four sheets on 
“Sure-Fire Flint” and its cast in every important spot in the city. 
These will be augmented next week by the addition of another thousand 
beautifully illustrated twenty-four sheets, bearing production portraits of 
Sidney Franklin, one of the best Johnny Hines, Doris Kenyon, Edmund Breese, ^Effie Shannon, Robert 
known directors, has been engaged Edeson and J. Barney Sherry These posters have been executed by 
hv Harrv Ranf to direct the forth- Ritchey under the advice of C. C. Burr himself and are said to be among 
coming ' Warner Brothers aSSS- the most striking creations made by them in many years, 
tion “Brass” the Charles G Nor- Coincident with the outdoor campaign in New York, Burr also con- 
ris novel of' marriage and divorce, traded for campaigns of like immensity in every principal city throughout 
according to report. the country, with the result that exhibitors have received hundreds of 

Mr Franklin who has been di- requests from patrons who were desirous of knowing just when “Sure- 
recting Norma Talmadge, is re- Fire Flint” was to be played at their local theatres. 

sponsible for “Smilin’ Through,” In “Sure-Fire Flint” it is reported that Burr ,s making an even larger 
“East Is West,” and many other advertising expenditure than he did in Burn Em Up Barnes and I Am I 
screen plays. the law.” ® 


Sid Franklin 

Will Direct 

Warner Film 


Big Advertising 

DOESN’T MAKE A 

Big Picture 

A Ten-page insert instead of this 
five-inch ad wouldn’t make 

“NOTORIETY” 

Any Bigger Than It Is 


A B-l-G DIRECTOR 
A B-I-G STORY 
A B-l-G CAST 
MAKE A B-I-G PICTURE 


U 


YOU’VE GOT IT ALL IN 

NOTORIETY” 


WHAT A CAST! 
MAURINE POWERS 
MARY ALDEN 
ROO LA ROCQUE 
GEO. HACKATHORNE 
J. BARNEY SHERRY 
MONA USA 
RICHARD TRAVERS 
IDA WATERMAN 
WM. H. TOOKER 
ANDERS RANDOLF 


Ready for Independent 
Release in September by 

L. LAWRENCE WEBER 
and BOBBY NORTH 
1600 Broadway N. Y. City 



September 2, 1922 


MOVING PICTURE WORLD 


45 


To All Exhibitors 

Equity Pictures Corporation suggests, advises, welcomes and 
urges comparison of “WHAT’S WRONG WITH THE WOMEN” 
with any and all the big outstanding productions of the season. 

That does not mean comparison with independent pictures 
only, but means comparison with ALL the biggest pictures on the 
market this Fall. 

In other words, Equity urges that you book and play “WHAT’S 
WRONG WITH THE WOMEN” strictly on the basis of the 
merit and box office power of the production itself. 

That’s the “show you” demonstration of just how remarkable 


is- 




AMAZING ANSWER 
TO THE AGE OLD PROBLEM 


/ 


P 




Biggest Independent 
Box Office Attraction 
in Ten Years 

The biggest independent exchangemen in the business have 
already bought it for their various territories. Others are nego- 
tiating for it now. 

Trade papers, critics, reviewers and laymen acclaim this picture 
the biggest independent box office attraction in years. 

Elaborate Campaign Book and Accessories 

have been prepared for “WHAT’S WRONG WITH THE 
WOMEN” posters, advertising, publicity, exploitation unequalled. 

EXHIBITORS — ask your nearest Independent when he can 
arrange your bookings. INDEPENDENT EXCHANGEMEN — 
write or wire today for open territory, terms and a copy of the 
campaign book to 

EQUITY PICTURES CORPORATION 

723 SEVENTH AVENUE, NEW YORK CITY 



46 


MOVING PICTURE WORLD 


September 2, 1922 


Equity Going Limit on 

D. C. Goodman’s Feature 


Greatest preparations are under 
way in behalf of “What’s Wrong 
with the Women?” which Equity 
Pictures will release in the inde- 
pendent market. Daniel Carson 
Goodman’s production, which was 
produced in New York without 
any great advance publicity cam- 
paign, has already been shown to 
trade paper critics and was greeted 
as the most faithful picturization 
of the present-day spirit of rest- 
lessness and craze for excitement 
which has ever been put on the 
screen. 

Fully cognizant of the interest 
which this picture will create, 
Equity is now completing plans 
for a publicity campaign which 
will make this picture one of the 
most talked-of screen offerings of 
the season. Because of the tre- 
mendous interest which is awak- 
ened by the title alone a large 
amount of unsolicited publicity has 
been given the production by the 
daily papers, and by means of the 
campaign arranged by Equity the 
question and its answer will be 
widely discussed throughout the 
nation by the time the picture is 
released. 

“It is not our intention,’’ stated Mr. 
Goodman, “to capitalize a title. We 
have a story behind all this, which 
fully justifies our selecting such a 
name, and because of this we feel that 
we have the right to create advance 
interest in the picture by means of the 
title. There need be no fear that our 
advance publicity, which will be as 
great as any ever given a motion pic- 
ture, will react to disadvantage. We 
want people to come into the thea- 
tre prepared to see an intelligent and 
fair-minded discussion of the feminist 
question because we know that ‘What’s 
Wrong with the Women’ will afford 
just that. I need only point to the re- 
views in the trade papers under date of 
August 12 to prove that we have sin- 
cerely and faithfully depicted the cur- 
rent unrest among women and just as 
sincerely proposed an answer. Speak- 
ing editorially, the Motion Picture 
News of August 12 says: ‘Mr. Good- 
man’s picture is the truest document 
on the subject that has ever been 
shown for entertainment. It strikes 
a far deeper note than Manners’ play, 
“The National Anthem.” The subject 



matter has occupied the attention of 
authors for some few seasons, but 
most of them have just skimmed the 
surface. . . “What’s Wrong with the 
Women?” sticks to its theme without 
a false variation. . . The picture is 

wonderfully well interpreted.’ 

“In the Moving Picture World Mr. 
Roger Ferri succinctly phrased it thus : 
‘An Equity state right offering that 
will make box offices jingle with 
recordbreaking grosses,’ and editori- 
ally he wrote that he could not recall 
a more entertaining and better inde- 
pendent picture than ‘What’s Wrong 
with the Women?’ In the opinion of 
the writer it is the biggest state right 
possibility of the year. 

“Surely these men, speaking editori- 
ally in their magazines, are able to 
differentiate between simply a title and 
a picture plus a title. And certainly 


The director of “Why Girls 
Leave Home” and “Schooldays” 
played true to form when he made 
his entry into the offices of L. 
Lawrence Weber and Bobby 
North this week flanked by a corps 
of assistants carrying cases total- 
ing 100,000 feet of film. The huge 
load represented the scenes shot 
on “Notoriety,” Will Nigh's latest 
production. Nigh is noted for the 
excess footage he takes. It gen- 
erally amounts to ten times the 
length used in the finished film, 
and always guarantees him against 
missing any of the high lights of 
the picture. 

It took Will Nigh two months 
to make “Notoriety,” the longest 
he ever took on any of his output. 
He finished “Why Girls Leave 
Home” and “School Days” in half 
the time that “Notoriety” took. 
The reason lies in the magnitude 
of the production. In “Notoriety” 
he has taken the star of “Why 
Girls Leave Home,” Maurine Pow- 
ers, and added, performers like 
Mary Alden, Rod La Rocque, 
George Hackathorne, J. Barney 
Sherry, Richard Travers and four 
others. 


In all probability Bruce Mitchell, the 
well-known Coast director, who for 
some time has been maxing the Monty 
Banks comedies, will settle in the 
East, turning out comedies. Some sort 
of definite announcement concerning 
Mitchell’s new affiliations is expected 
to be made next week. 


All is hustle and bustle at the Glen- 
dale, L. I., studio, where Dell Hender 
son is turning out “Sure Fire Flint.” 
starring Johnny Hines for Charles C. 
Burr. Rapid progress is being made 
on this production, which will be com 
pleted within a few days. 


Dr. Carson Goodman, who produced 
“What’s Wrong with the Women?”, 
is working on the story for his next 
production which, according to present 
irrangements. Equity Pictures Corpor- 
ation also will release. 


Virtually all the Fort Lee studios 
are busy these days on independent 
productions. Several independent pic- 
tures are expected to be completed be- 
fore the first of September. 


J. Barney Sherry is in big demand 
by independent producers. During the 
past month he has been working on 


such buyers as Sam Zierler, of Com- 
monwealth Film ; Ben Amsterdam, of 
Masterpiece, and Sam Grand, of Bos- 
ton, and Joe Friedman, of Chicago, are 
sufficiently keen showmen to know 
that no picture can ride along on 
simply a title, unless it is able to give 
perfect entertainment and live up to 
that title. And it is because ‘What’s 
Wrong with the Women’ does fill the 
bill perfectly that Equity will produce 
with the biggest advance publicity 
campaign that has ever been afforded 
an independent production. 

“ ‘What’s Wrong with fhe Women’ 
is from a story by Mr. Goodman, and 
is interpreted by an all star cast, in- 
cluding Wilton Lackaye, Barbara Cas- 
tleton, Constance Bennett, Rod La 
Rocque, Hedda Hopper, Julia Swayne 
Gordon, Huntley Gordon, Paul McAl- 
lister, and Mrs. Oscar Hammerstein.” 


two productions, C. C. Burr’s “Sure 
Fire Flint” and Billy Nigh’s “Notori- 
ety.” 


Work on the next Betty Blythe pic- 
ture is expected to be started early in 
September at the Whitman Bennett 
studio in Yonkers, N. Y. Bennett is 
now applying the finishing touches to 
“Secrets of Paris,” which will be re- 
leased by Charles C. Burr. 


Judging from what progress is being 
made up at the Gloversville, N. Y., 
studio, “Lost in a Big City,” which 
George Irving is directing for Blazed 
Trails Productions, Inc., for Arrow 
distribution, will be ready for the 
buyers the latter part of October. John 
Lowell, star of “Ten Nights in a Bar- 
room,” is being featured along with 
Baby Ivy Ward. 


James Minter of the Minter-United 
Exchange of Detroit has secured an 
injunction restraining interference 
with his business by David Mund- 
stuk. Last year Mundstuk sold the 
exchange and Strand Features. Inc . 
to Mr. Minter for a consideration of 
$47,000. Up to two weeks ago Mr. 
Minter is alleged to have paid Mund 
stuk about $14,000. Mundstuk. it is 
claimed, threatened suit on the 
ground that he was not securing pay- 
ments as regularly as he should. The 
suit will be heard next week in the 
Circuit Court in Detroit. 


Harry Charnas of Standard Film 
Service of Detroit and Cleveland an- 
nounced this week that he has con 
tracted for something like 600 bill- 
boards in those territories in ex- 
ploiting his products for release next 
season. 


The following changes in Harry 
Charnas’ Standard Film Service of 
Detroit wore announced by him this 
week : Robert Rowan in charge of 

short subjects : Jim Allen in charge 
of A1 Lichtman and Federated pro 
ductions : A. M. Goodman, formerly 
an exhibitor, salesman covering East- 
ern Michigan : George Malone cover- 
ing Western Michigan and Bill Flern- 
ion in Toledo. 


Premier Film Company, a new in- 
dependent exchange recently opened 
in Minneapolis, has acquired 4S fea- 
ture productions and 25 short sub- 
jects. This firm is going after ex- 
hibitor patronage in tooth-and-nail 
fashion. 


Tony Luchese and Oscar Neufleld. 
who constitute the De Luxe Film Cor- 



“MADAME SANS GENE” 

Scene from Producers’ Security 
Corporation’s New Production 


Harry Clay Blaney announced this 
week that the picture rights to all 
melodramas he and his brother, 
Charles, produced years ago, have been 
disposed of. Six of these productions 
have been sold to C. B. C. Film Sales 
Corporation. 


Harry Hoyt, who produced “The 
Curse of Drink,” is working on “That 
Woman," starring Catherine Calvert. 
This production which, according to 
all reports, will be an elaborate one 
scenically, may be offered to' the in- 
dependent market. 


The Florida production boom seems 
to have died out in-so-far as the busi- 
ness men of cities in that State are 
concerned. Many companies experi- 
mented there, but the results obtained 
were anything but satisfactory. 


poration of Philadelphia, are deter- 
mined on doing big things next sea- 
son. They have contracted for some 
of the best product in the inde- 
pendent market. 


The Graphic convention last week 
was considerably upset as a result of 
the railroad disturbance throughout 
the country. Many of the exchange- 
men had to leave before the others 
arrived in New York, with the re- 
sult that the confab was postponed, 
although arrangements for distribu- 
tion of product in 1922-23 were com- 
pleted. 


“Is a Mother to Blame?” is a new 
nhoto-drama that has been acquired 
by Edward L. Klein. Inc., interna- 
tional distributors. 


Charles C. Burr, president of Affili- 
ated Distributors, overlooks no bets 
when it comes to properly exploiting 
his pictures. He promised exchange- 
men who bought "Sure-Fire Flint" 
that he would exploit that production 
to the sky — and he is keeping that 
promise. C. C. Burr's billboards are 
everywhere in New York. These 
t wenty-sheeters hold the attention of 
the eye and certainly are a credit to 
the picture and to the enterprise of 
this popular independent distributor. 


Jans Pictures. Inc., is handling the 
\1 Lichtman productions in Northern 
Now York, and judging front the 
business that the initial release of 
this company “Rich Men's Wives." 
at the U S. Theatre in Paterson. N. 
•T.. did this week, it is in for much pat- 
ronage from exhibitors, tnanv of 
whom already are clamoring for hook- 
ings on this feature. 


Nigh Finishes “Notoriety”; 

East Coast Studio News 


STATE RIGHT NEWS 


September 2, 1922 


MOVING PICTURE WORLD 


47 


Arrow in Big Foreign Deal; 
News of the Export Field 


D. J. Mountain, manager of the Foreign buyers have been numerous 
foreign department of Arrow Film " X'^ftom *K, fates 'S 

ports from the various foreign man- 
agers there seems to be a dearth of 
productions in South American coun- 
tries. 


Corporation, reports a tremendous 
activity in the foreign market, 
which has resulted in a great vol- 
ume of new business for Arrow, 
Among the most important of. the 
recently signed contracts are the 
following : 

Liberty Film of Havana has pur- 
chased 26 features, a series of comedies 
and “Nan of the North” for Cuba. 
Camus and Co. of Mexico City has 
purchased 12 two reel Eddie Lyons 
comedies for Mexico. The Aktiebola- 
jet-Skandinavisk Filmcentral of Stock- 
holm has bought 12 Speed Comedies, 
14 Broadway comedies, “Ten Nights 
in a Bar Room,” “The Splendid Lie,” 
“The Innocent Cheat,” “The Golden 
Trail,” “Before the White Man Came,” 
“The Girl from Porcupine,” “Gods 
Country and the Law,” “Luxury" and 
“Hills of Hate” for Sweden. The deal 
was closed when Erik Lundberg, presi- 
dent of the company, was here. Five 
Ostriche comedies, "Luxury” and “The 
Way Women Love” have been sold to 
Bert Parker for Mexico. Interocean 
has secured 18 Spotlight comedies, 26 
two reel Hank Mann comedies and 12 
Speed comedies for Great Britain. 
“Nan of the North,” “The Blue Fox” 
and “Thunderbolt Jack,” three serials, 
have been bought by j. Pearson and 
Co. for Egypt. “Bitter Fruit” has 


both were relegated to the scrap 
heap as were also six German pic- 
tures that were brought here with 
the reputation of having scored big 
on the other side. 


Business at Canadian theatres is 
picking up steadily, according to re- 
ports from exchanges in Toronto and 
Winnipeg. Business in Quebec is still 
poor. 


Pola Negri, the international star, 
who is to make pictures for Para- 
mount exclusively in this country, 
was due to arrive in New York this 
week. 


William A. Brady, who recently 
returned to this country with the 
rights to many foreign pictures and 
productions in his pocket, expects to 
return to the movie field on a large 
basis. Brady believes he has several 
good bets, which he wants to ex- 
ploit himself. 


While no announcement has been 
made officially, it is said in New 
York film circles that David P. How- 
ell's office is soon to announce the 
release of several big foreign pic- 
tures. . 


Several new Italian films made 
their appearance in the local market 
this week, but after being shown 


George H. Hamilton, who has a 
number of crackerjack foreign pic- 
tures made in Sweden by the Swedish 
Biograph Company, is planning re- 
leasing the first of these features 
early in the Fall 


“Rags to Riches” 
Scores at First 
Coast Showing 

The premier presentation of the 
Wesley Barry picture, “Rags to 
Riches,” a Harry Rapf production 
made for the Warner Brothers, 
was recently given at the Strand 
Theatre, Pasadena. According to 
Rapf, the production was received 
with enthusiasm by a large audi- 
ence, and the response exceeded 
his wildest expectations. 

In a telegram to Harry M. War- 
ner, Rapf said: “Showed ‘Rags to 
Riches’ at Strand, Pasadena. Pic- 
ture went over way beyond expec- 
tations. Turned out great audi- 
ence picture. It has class and a 
big story full of laughs.” 


editing and titling the pictures. 


Harry Houdini is determined to 
make 1922-23 a banner season and 
consequently is organizing a number 
Leslie Mason is of special acts that will be headlined 


in conjunction with the showing of 
his feature, “The Man From Beyond.” 


More Americans 

Will Go Abroad 


C. C. Burr, of Affiliated Distribu- 
tors, Inc., is being besieged with 
propositions from exchanges that are 
anxious to tie up with him. How- 
ever. these are in ill luck for the rea- 
son that with the exception of Michi- 
gan and District of Columbia, Burr’s 
product is sold out. 


Wyndham Standing and Mar- C. & N. Williams. The American Tom Moore, one of the best known 


been sold to La Cinematographic guerite Marsh have contracted to rights for “The Lion’s Mouse” will exhibitors in the country, has joined 
Francaise for France and to Artistic c-t-,.- k,, d — a c the independent distribution field in 


Francaise for France and to Artistic s t a r m several feature pictures in 
Wilma fn r Switzerland. The latter 0 c u i, a- wi 

purchased “Devil Holland for the Hollandia Film 

and will sail for that 


Films for 
company has also 
Dog Dawson.” 


Company 

country Saturday, August 26th, on 
State the s.s. Rotterdam. Wyndham 


be handled by Producers Security 
Corporation. 


Pisano to Film 


independent distribution field in 
Washington, and has opened a new 
exchange there known as the Feder- 
al Pictures Corporation. 


Eddie Polo, whose initial vv 

being 8 generally ^dfs^rilmted in this Standing played opposite Norma General Pisano, the internation- 

country, is in Vienna making a new Talmadge in many productions and al rifle champion, and the big time 

serial, which he expects to conclude more recently starred in “The Isle vaudeville artist, will shortly ap- 

to *h?s X country. w en e WI re urn of Doubt” and “The Jellyfish” for pear in a series of short reels. 

— ; — the Syracuse Motion Picture Com- 

Sig Schlager is in Paris promoting pa ny. Marguerite Marsh has ap- 

the interests of Affiiliated Internation- *, ; , „ ® . ... n 

U Productions. peared as co-star with Dustin Far- 

num and Herbert Rawlinson. She 

R e P° r ts fro ™ England and the con- also appeared with Lionel Barry- 
tinent agree that cinematographically • , J 

conditions there are improving. more m a super production. 

Mr. Standing and Miss Marsh 

r>o?i SC i ar Evelyn G re e J e Y a ii<l will start work immediately upon 

Carlyle Blackwell who filmed Bull- ,i • . , ■ T t n i J 

dog Drummond” in Haarlem, Hoi- their arrival in Holland on The 

land, have returned to this country. Lion’s Mouse,” the famous book by 


Frank Zambrino, of Unity Photo- 
plays, Inc., of Chicago, following a 
busy buying week in New York, re- 
turned to the Windy City on Sunday 
night. While in New York Frank 
closed a number of important deals 
with Arrow Film Corporation. 


BATTLING 

Hf 


Jungle Goddess” Gets 
Good Buyers’ Prices 


Sam .Grand, the enterprising 
Federated member for New Eng- 
land, made a trip to New York 
this week to close negotiations 
with the Export & Import Film 
Company on the latter’s Selig seri- 
al, “The Jungle Goddess.” 

Grand had been dickering for 
this wild animal serial ever since 
its completion. No figures are 
mentioned in the announcement of 
the sale by Export & Import, but 
it is understood to have been a big 
price. Grand will release the chap- 
ter picture September 1 and in- 
tends to start an extensive exploi- 
tation campaign. 

Louis Auerbach also announced 
that following the signing of the 
contracts on this deal, Sam Grand 
got in touch with Bobby North, 
whose Apollo Exchange bought 
the Greater New York and North- 
ern New Jersey rights on the seri- 
al some time ago, and who has re- 
ported unusual heavy bookings 


thereon, and together the two film 
men closed for the Upper New 
York State rights on “The Jungle 
Goddess.” 

It is said that within the next 
thirty days several of the coun- 
try’s biggest independent ex- 
changemen will close on the Selig 
serial for September first release. 


Weiss Brothers 

Astor Theatre 

Weiss Brothers’ Artclass Pic- 
tures Corporation are negotiating 
for either the Astor Theatre or 
Metropolitan Opera House in New 
Lork, for a special engagement of 
their big Old Testament feature, 
as announced exclusively in this 
department several weeks ago. 
They have offered $8,000 a week 
fo . r . 1 t l le Astor, where the picture 
will in all probability be shown, 
following Metro’s “The Prisoner 
of Zenda.” 



O I 

M 


C M 


MASTODON FILMS, INC. 

• C. C. BURR, Pres. 

133-135-137 West 44th Street 
NEW YORK CITY, N. Y. 

BOOK AT EDUCATIONAL EXCHANGES 



* roacN v i M 


48 


MOVING PICTURE WORLD 


September 2, 1922 


In P ersonal I ouch 


B y 


FRITZ 


T I D D E N 


M EMBERS of the screen a 
Writers Guild of the Au- 
thors’ League of America in Los 
Angeles tendered Tom Geraghty a 
farewell dinner last week. Tom 
is leaving the Coast to assume 
charge of the reopened Famous- 
Lasky plant on Long Island. Ac- 
cording to reports, there was high 
doings and Tom got a fitting and 
proper sendoff. 


* * * 


William Fox is spending several 
weeks of his European trip in 
Karlovy Vary, Carlsbad. 

* * » 

Monte Katterjohn has returned 
to the Lasky studio in Hollywood 
after a somewhat protracted ab- 


"It’s a stirring world we are living in," 
said Owen Moore, starting for his cellar. 

* * * 

Harry M. Berman has returned 
from a tour of F. B. O. exchanges. 

* * * 

Will Hays has gone to Minne- 
apolis to attend the convention of 
the M. P. T. O. of Minnesota. 

* * * 

Ned Hay, formerly an assistant 
director at Paramount’s Long 
Island studio, has been appointed 
casting director. His predeces- 
sor, Arthur Cozine, becomes loca- 
tion manager. 

* * * 

Harry Gibbs, who has been a 
member of the Fox field forces, 
is to remain permanently in the 
New York office. 

• * * 

Bruce Mitchell, of the T. R. 
Coffin Productions, arrived in New 
York from the coast with the 
prints of the first four of a series 
of twelve comedies, which he 
directed and starring Jack Rich- 
ardson and Helen Darling. 

• » * 

Evelyn Greeley has returned 
from London, after finishing 
her work as star in the Hollandia 
Films’ production of the New York 
stage success, “Bull Dog Drum- 
mond.” 

* * * 

Hi Speed says that “Saturday 
Night” is not a bathing girl picture. 

« * * 

“Forget Me Not,” the photoplay 
now being shown at the Criterion 
Theatre, was successfully pre- 
sented to six hundred blind people 
recently, under the auspices of 
the New York Institute for 
the Blind, at the New York 
Theatre Roof. The photoplay was 
described in detail, scene by scene, 
and sub-titles were read in order 
that the audience might fully 
understand the picture. A varied 
entertainment preceded it, consist- 
ing of musical and comedy acts. 
Hope Hampton, who was hostess 
for the afternoon, also offered a 
vocal number. The “showing” 
was so successful that it will be 
repeated throughout the country. 
This is believed to be the first time 
a photoplay was projected for a 
blind audience. 

• * * 

Louis Baum, who was recently 
appointed vice president of 
Equity, is making a trip to close 
territory on “What’s Wrong With 
the Women.” 

* * * 

Leon d’Usseau, Universal’s 
Eastern scenario editor, packed 
his grip with a bunch of recently 
purchased stories and entrained 
for Universal City. 


, Marcus Loew is expected back 
on the temperance side of the At- 
lantic within a short time. 

* • * 

Stephen W. Grow, of the South- 
ern Publicity Association and for- 
merly branch manager in Atlanta 
for the W. W. Hodkinson Corpo- 
ration, was married August 19 to 
Mrs. Elizabeth Tyler, one of the 
executives of the Ku Klux Klan. 

* * * 

Jules Mastbaum has gone to 
Maine for a vacation. 

* * * 

Max Graf arrived in town this 
week from San Francisco. 

* * * 

Jimmy Grainger has left New 
York for a tour of exchanges, to 
be gone five weeks. 

• • • 

Ralph Block is expected in New 
York soon. 

* * * 

J. Irving Greene, director of ad- 
vertising and publicity for Asso- 
ciated Exhibitors, packed up his 
golfing outfit last week and left 
for a fortnight’s outing at Stam- 
ford, N. Y. Mrs. Greene, who is 
also an enthusiastic and accom- 
plished golfist, is with him, and 
the trip is really in the nature of 
a honeymoon, as the couple were 
married only two months ago. 

* * * 

S. Y. Freeman, vice-president of 
Southern Enterprises, is in New 
York on a trip to close contracts 
for the distribution of productions 
in eleven Southern States. 

* * * 

John S. Robertson, director of 
Paramount, who has just com- 
pleted Mary Bickford’s new pro- 
duction, “Tess,” is due to arrive 
in New York shortly. Robert- 
son's contract with Famous 
Players-Lasky has expired and he 
is not considering signing up with 
this company again just at this 
time. His plans include several 
big propositions which will be 
boiled down to one when he ar- 
rives in the city to give them his 
personal attention. 

* * * 

Sig Schlager, orchid colored 
fedora, pearl grey tinted cane and 
all, has left Paris for Oran, on the 
North African coast, to go on lo- 
cation with Louis Mercanton and 
Hervil, the well known French 
directors. Following that he will 
start for America and, as Bugs 
Baer says, the bronze decoy in 
New York Harbor, the Statue of 
Liberty. 

* * * 

M. Komroff, whose first name 
seems always to have been kept 
a deep secret, and who for some 
time has been on the staff of Film 
Daily, resigned his position to join 
the book publishing firm of Boni 
& Liveright. Komroff will be in 
charge of technical production. 

* * * 

Jack Picltford and Marilyn Mil- 
ler will arrive in New York on the 
20th Century Limited, August 2S. 

* * * 

"When Satan Sleeps” would he a mere 
nap according to some authorities. 

* * * 

Carey Wilson, author of Gold- 
wvn’s "Passions of the Sea,” says 
blonds are “very popular in the 
South Seas.” 

Humph! Who has found where 
they’re not popular? 

• » • 

Jack Holt has gone back to the 
Coast. 


Three Song Tie-ups 
for Paramounts 

Three important song tie-ups for 
forthcoming Paramount pictures 
have just been effected by the Para- 
mount publicity department. The 
first of the pictures to be thus 
popularized is the Fred Niblo pro- 
duction, “Blood and Sand,” starring 
Rodolph Valentino. The well- 
known music publishing firm of 
Watterson, Berlin & Snyder has pub- 
lished the song, “You Gave Me 
Your Heart (So I Give You Mine)” 
and has dedicated it to the Para- 
mount picture. 

Another song recently issued is 
“The Old Homestead,” which, ac- 
cording to the cover, is based on the 
Paramount picture, with Theodore 
Roberts, George Fawcett, T. Roy 
Barnes, Harrison Ford and Fritzi 
Ridgway. This is published by the 
Philip Ponce firm. 

Out in Los Angeles, Aubrey 
Stauffer, well-known as a Para- 
mount scenario writer, has composed 
a song for the exploitation of “The 
Young Rajah,” another picture in 
which Rodolph Valentino is starred 
and which is adapted from the play 
by Alethea Luce and the novel, 
“Amos Judd,” by John Ames 
Mitchell. 


Well Welcomed 


“The Masquerader” 
Big Attraction 

Guy Bates Post in “The Mas- 
querader,” a First National attrac- 
tion, opened to big crowds in Chicago 
and proved a sensation, according to 
a telegram received by J. D. Wil- 
liams, general manager of First 
National, from Balaban & Katz. 
The message is as follows : 

“Masquerader opened to biggest 
Monday in history of Chicago 
Theatre, with thermometer register- 
ing ninety-four and terrific heat all 
day. Crowds lined up one hour be- 
fore opening of box office. When 
we started to sell tickets we had at 
least one thousand people waiting in 
line. First time this happened in 
history of any of our theatres in 
Chicago.” 


Lon Chaney Engaged 

Lon Chaney has been engaged by 
Universal to star in “The Hunch- 
back of Notre Dame,” that com- 
pany’s forthcoming Jewel produc- 
tion of “Notre Dame de Paris,” 
Victor Hugo’s immortal novel. 


Following up its represen- 
tative first run bookings in 
New York, Los Angeles and 
Detroit, “In the Name of the 
Law,” the Emory Johnson po- 
lice drama now being distrib- 
uted by the Film Booking 
Offices of America, will soon 
be seen in many of the largest 
first run houses in the coun- 
try. A flood of contracts 
proves that its exploitation 
possibilities have been fully 
appreciated. In every theatre 
booked there will be an ef- 
fective tie-up with the police 
departments. 

Among the first run houses 
to show it in the near future 
are the Apollo in Indianapolis, 
the Walnut in Cincinnati, the 
Strand in Buffalo; Loew’s 
State in Cleveland, Fay’s The- 
atre in Rochester, the State in 
Pittsburg, the Columbia in 
Dayton, the Colonial in Rich- 
mond, the Strand in San Fran- 
cisco, the Pantheon in Toledo, 
the Walnut in Louisville and 
the Columbia in Erie, Pa. 

Mary Pickford Wins 

Another chapter has been added to 
the story of “Dorothy Vernon of 
Haddon Hall.” The picture rights 
had been secured for Madge 
Kennedy, but Mary Pickford and 
others who wanted to picturize the 
Charles Major story continued to 
raise their offers in the hope of land- 
ing the plum. 

In the end, Mary Pickford has 
won. The Kenma Corporation, the 
Madge Kennedy company, has sold 
the rights to Miss Pickford for a 
figure said to be the largest paid for 
a film story this year. 

Much Company 

Katherine MacDonald is finding 
“The Lonely Road,” the newest 
Preferred Pictures’ production, in 
which she is starred, anything but 
lonely. The famous Associated 
First National beauty has the com- 
pany, on this celluloid journey, of 
such pleasant and accomplished com- 
panions as Orville Caldwell, Kath- 
leen Kirkham. William Conklin, 
James Neill, Frank Leigh, Charles 
French, Eugenie Besserer, Vera 
Lewis and others, with Victor L. 
Schertzinger as their directorial 
chaperon. 


Goldwyn’s List 

Pleases Showmen 


Hardly had last week’s trade 
papers got off the presses when 
Goldwyn began receiving letters and 
telegrams from prominent exhibitors 
congratulating the producing firm on 
the line-up of eight super-features 
for release between October 8 and 
December 31. And a few days later 
the twenty-two Goldwyn branch ex- 
changes began sending in the mes- 
sages received by them. 

Judging from the tenor of ex- 
hibitor comment so far received. 
Goldwyn has struck a responsive 
chord with its new policy of fewer 
pictures, but big pictures, and also 
with its first releases. Many of the 


messages received state that the 
writers expect to show every picture 
that Goldwyn puts out for the entire 
new season even though they are to 
be sold individually. 

There has been special satisfaction 
expressed that the first of the re- 
leases is to be a new Rupert Hughes 
picture, “Remembrance”— one that 
can be classed right along with his 
“The Old Nest.” Frequent mention 
is made of the John Barrymore pic- 
ture, “Sherlock Holmes." The com- 
bination of Barrymore and Conan 
Doyle’s immortal detective arouse 
the utmost confidence before the film 


September 2, 1922 


MOVING PICTURE WORLD 


49 


Selling the Picture to the Public 

Ss> EPES WINTHROP SARGENT 

J Lr I Ti \V 


Fred Hathaway’s Newspaper Matinees 

Gain Space and Publicity for House 


N OT content with hooking the largest local 
paper to his classified advertising stunt, 
recently described in these columns, Fred 
Hathaway, of the Alhambra Theatre, Utica, has 
revived an old idea for a new angle in his 
newspaper matinee. 

Mr. Hathaway knows the publicity and moral 
value of the children’s matinees, and has used 
the kid matinee in a number of forms, but 
purely as a house issue. 

During the white paper shortage during the 
war he offered admissions to all children bring- 
ing copies of any newspaper. Now he has re- 
formed the scheme into a circulation stunt, to 
which he has tied the News-Observer. 

Simply W|orked 

All children under twelve are admitted to 
special performances on Mondays and Thurs- 
days until school opens on presentation of ten 
complete copies of the News-Observer of any 
date. The papers must be flat and clean, and 
folded only once, to permit them to be inspected 
with ease. 

Between three and four hundred children 
attend these bi-weekly performances, and they 
scour the neighborhood for copies of the one 
paper which is required, which advertises the 
paper to everyone, and helps the circulation. 

It brings at least a half column story twice 
a week on the announcement of the performance 
and smaller stories on the day following. 

Pays Expenses 

The matinee last given before Mr. Hathaway 
wrote brought in 3,200 pounds of paper, which 
is baled and sold at 65 cents a hundred pounds, 

Fountain of Pearls 
Got All the Public 

J. B. Robertson, of the Palace theatre, Ft. 
Smith, Ark., worked a good one on The Man 
Unconquerable, using an old, but seldom used 
idea. 

The exploitation department of Southern 
Enterprises suggested that the managers keep 
away from the South Sea angle and use the 
pearls, instead. Robertson got some small 
artificial pearls and put them into a jar of 
carbonated water. As the gas separated from 
the water it would attach itself in small bubbles 
to the pearls until the buoyancy of the gas 
offset the weight of the pearl and it would 
float to the top of the fluid, where the gas bub- 
bles would break, permitting the pearl to sink 
again and repeat. 

If you have never seen the trick worked, the 
effect is uncanny, and while the water will need 
frequent renewal, its use about starting times 
will well repay the cost of a tank of soda 
water. It caught the crowd and people who 
came just to see the mysterious pearls re- 
mained to see the picture. Be careful not to 
get pearls too large, or the gas may not be 
able to raise it. 

It is a simple stunt, but you can tear a small 
town loose from its foundations if you work 
it right. We used to carry a small jet cross in 
pre-prohibition times which, when introduced 
into a glass of beer and properly entreated, 
would rise to the surface to the bewilderment 
of more than one superstitious barkeep. 


or $20.80. It brought in a column of smartly 
written publicity and it brought in a lot of 
parents for later performances, who had been 
sold on the show by the children. 

There is also advertising value in the queue 
formed by the kiddies well in advance of the 
opening hour. 

The shows are started at eleven o’clock and 
the house is cleared and cleaned in time for the 
opening for the regular matinee. 

Used Flowers, Too 

Mr. Hathaway adds that for a long time he 
made a clean-up with flower matinees. Free 
admission was given all who brought flowers 
and a prize was awarded the largest bonquet. 

After taking what he wanted for the lobby, 
Mr. Hathaway had the rest made into small 
bouquets which were distributed to the hospitals 
with cards reading : “With best wishes for a 
speedy recovery from the Alhambra Theatre 
and its juvenile friends.” 

Naturally the recipients were pleased with 
this thoughtful attention and they and their 
friends were favorably inclined to the Alhambra 
at no greater cost than printing up the cards, 
since the bouquets were made up by the ushers. 

Both schemes are good. Try them out. 
They will make business for you just as they 
did for Mr. Hathaway. 


A Two-Way Stunt 

A. C. Cowles, of the Rex Theatre, Spartan- 
burg, S. C., made a deal with a florist, whereby 
the latter decorated the lobby for “The Won- 
derful Thing” in return for a credit card and 
slide. On the second, and closing, day of the 
run the lobby display was presented to the 
women patrons, one flower to each visitor. 


Yashmaks for Pola 

Telling the town with a street worker is not 
new, but the Gilbert Theatre, Beatrice Neb., 
was not too small a house to give a new kick 
to the idea when it put out a woman in Oriental 
dress for Pola Negri in “One Arabian Night.” 



A First National Release 


THE YASHMAK 

The Yashmak, or face veil, which usually 
hides the face below the eyes, was carried 
straight up to the forehead, wholly concealing 
the features, and the title of the production 
was painted in big black letters across this most 
prominent feature of the costume. 

That’s the idea, and it is a useful one in these 
days of desert stories. 


“Pinched into a Job” has been delayed in 
the mails. Next week. 



A First National Release 


THE CROSSROADS OF NEW YORK MUST BE UP-STATE 
This window show for the California Theatre, San Francisco, surely does not show 
Broadway at Forty-second Street. Still it put the picture over, and you can see the 
crossroads with the near auto smash just as in the Sennett Comedy. 


50 


MOVING PICTURE WORLD 


September 2, 1922 



A First National Release 


ANOTHER EXAMPLE OF THE OVERSIZE AUTO CUTOUT 
The Hope Theatre worked this for Jackie Coogan in “Trouble,” and tied all of 
Dallas to the old clothes stunt, getting a pick of choice municipal locations as well 
as columns of free newspaper work on this capital publicity idea. 


Made Fan Interest 
Sell His Paramount 

In many sections Rodolph Valentino is so 
popular that he is featured above the star he 
supports. 

Ross Rogers, of the Mission Theatre, 
Amarillo, Tex., capitalized this feeling by 
working it into a contest. He advertised 
heavily that he wanted to know which was 
which, and he phrased the talk so as to arouse 
tke fan interest. 

Each purchaser of a ticket was given a slip 
stating that “I have come to see” and the name 
of the favored player was checked off. 

The result was that “Beyond the Rocks” 
was played to about one-third more business 
than was logically to be expected at very slight 
expense for extra advertising and the voting 
slips. 

Rogers’ lobby showed an urn on either side 
of the opening. In the centre were pictures of 
the two players, framed with a kewpie reading 
in a book bearing the title of the picture. This, 
too, was inexpensive and yet effective. 


Car Not a Jaunter 
But It Helped Film 

Coney Island is a place where exploitation is 
particularly needed to put a picture over against 
the myriad attractions of Surf avenue and the 
Bowery, and when Henderson’s Theatre gets a 
film it can exploit, it goes to it as strongly as 
possible. 

For the Vitagraph production of “My Wild 
Irish Rose” they started in a week ahead with 
a 24-sheet on the drop, which was used several 
times during each performance, for in spite of 
the fact that this is a beach resort theatre, they 
play to considerable of a permanent clientele. 
The poster was nicely framed in gilt and was 
used for the olio drop. 

For the showing they dressed the lobby in 
green lights and drapes, with a cutout three 
sheet. Outside American and Irish flags were 
dropped from the cornice to the marquise, and 
a cafeteria next door was hitched to a painting 
with a surrounding of green pickles and red 
beets and cherries in bottles, with green and 


red wax paper, shredded, in between. It was 
gaudy as well as neat. 

For street work an odd looking cart was 
rechristened a jaunting car and dressed as 
shown in the cut. This was kept up and down 
the street. As there is only one traffic street, 
it was a simple matter to keep the few blocks 
well stirred up. 


Nice Language 

Jimquin is back in Los Angeles and writes 
that the West Coast theatres are using his 
“Park Your Cares” with his permission, but 


adds that any exhibitor is welcome to adapt it 

This is relative to a story sent out by First 
National publicity recently, in which Harry 
Arthur was given credit for the line. This 
department was the only one, apparently, which 
knew that it was Quinn’s line, though all of the 
papers mentioned the stunt at the time. 

Then Jimquin adds that w'e should not refer 
people to the dictionary for definitions as we 
did in the case of “replica” lately. He went to 
his Webster the other night, and this is what 
he pulled out : 

“ARISTOPHANIC : A logaoedic tripody 

acatalectic beginning with a dactyl ; called also 
the first Pherecratic.” 

Jim thinks the board of censors should get 
after the dictionary and leave the pictures alone 
for a time. What we want to know is what 
got Jim interested in Aristophanic ? 


Free Heralds 

Because a shoe store in Marysville, Term., 
was staging a mark down sale, J. H. Everett, 
of the Palace Theatre, got three thousand 
heralds free. He persuaded the merchant that 
people are interested in pictures and would be 
more interested in heralds which made connec- 
tion with a picture attraction. The copy was 
changed to read : 

“Help your good provider by taking advan- 
tage of this sale, then see ‘The Good Provider’ 
at the Palace Theatre.” 

Even that did not satisfy Everett, so he put 
out a thousand stock heralds on his own ac- 
count. It all helped to hoist business about 
twenty per cent. 


Timely 

It cost Ollie Brownlee, of the Palace Theatre, 
Muskogee, Okla., just eleven dollars to elect 
Tom Meighan “Leading Citizen” of his town. 

It was primary election and he put the money 
into propaganda cards which were distributed 
at the polls and around town generally. Autos, 
with banners, were shot around town and the 
lobby of the theatre was turned into a head- 
quarters. All through the South the primary 
elections have helped the Paramount production. 



A Vitagraph Release 


A MISGUIDED PRESS AGENT’S JAUNTING CAR 
That’s what the Vitagraph man says they used to put over “My Wild Irish Rose” 
at Henderson’s Theatre, Coney Island. It is most distinctly not a jaunting car, 

but it got attention. 


September 2, 1922 


MOVING PICTURE WORLD 


51 



A First National Release 

A SIMPLE DERRICK STUNT FOR WORK ON “GAS, OIL, WATER” 
This simple profile was planned by the Criterion Theatre, Atlanta. It does not 
make the flash of erected derricks, but it provides a means of getting some effect 
where the cost of built-up structures would take too much off the profits on this 

Charles Ray offering. 


Broken Ladders: 
“Watch Your Step" 

There was a particularly apt adaptation of 
stunt to title for “Watch Your Step” when 
the Goldwyn played the Imperial Theatre, 
Charlotte, N. C. 

Manager Ray Beall built a ladder out of 
lath stock and spaced the steps to fit a cutout 
of . Cullen Landis from the three sheet, getting 
the spacing so that Landis, who is looking over 
his shoulder, seems about to step upon a broken 
rung. 



A Goldwyn Release 


THE BEALL BALLYHOO 


Economical Eddie 

It cost Eddie Collins, of the Rialto Theatre, 
Dennison, Tex., most all of five dollars to 
put over “Across the Continent.” He spent this 
for two mounted twenty-four sheets which the 
local Ford dealer carried all over town. The 
same agency also advertised a contest, did 
newspaper advertising and window work, and 
receipts went up forty per cent. — which is some 
shoot. 


“All Wet” 

Hugo Plath, of the Queen Theatre, Abilene, 
Tex., is one of the very few managers who 
did not erect a school room in his lobby for 
“School Days.” He figured that it was vaca- 
tion time and the school would not interest the 
kids, so he built a swimming pool with real 
water for a Wes Barry cutout to swim around 
in. It cost only two dollars. 

He also organized a parade of freckled kids, 
giving each a dunce cap and a free admission, 
and getting a hundred dollars’ worth of pub- 
licity out of it. 


Convinced 

Most persons like to have their worst sus- 
picions confirmed. The Allen Theatre, Strat- 
ford, Ont., landed a hook-up page. Their con- 
tribution was: “‘Is Matrimony a Failure?’ 
Go to the Allen Theatre and find out.” 

The house was crowded with married folks. 

Leon J. Bamberger did it. The Para- 
mounteer knows. 


Summer Gives a Kick 
to “Silent Call" Lobby 

During the winter the pictures of Strong- 
heart were made the chief appeal on “The 
Silent Call,” but with the hot weather here 
Abe Levy, of the Strand Theatre, Waco, 
Texas, figured that “made in the land of ice 
and snow” would be a better appeal. So he 
frosted his lobby and used that line twice. The 
lobby was not very elaborate, but it was cool 
and inviting, and it drew them in out of the 
Texas sun. 

He used a flat painting which covered half 
the front of the lobby and provided a shade 
which fans augmented, while cool blue illum- 
ination inside the enclosure heightened the 
mental suggestion. In this case the flat worked 
better than would an open lobby with the usual 
foliage. The patrons wanted real shade. 



A First National Release 


The ladder reached up to a disc on which COOLING OFF STRONGHEART GETS BUSINESS IN TEXAS 

the title had been painted, and at the bottom 

was a watchful dog. Beall could not find a Abe Levy, of the Strand Theatre, Waco, took the show angle for a summer ap- 

pup in the proper attitude on any paper, so he proach on “The Silent Call” and got a shaded lobby that reached out and pulled 

painted his own. his patrons inside because it looked so cool. 



52 


MOVING PICTURE WORLD 


September 2, 1922 



A Paramount Releast 

IT COST OSCAR WHITE SEVEN DOLLARS TO BUILD THIS LOBBY 
He followed the Lindlary lobby on Over the Border, using the changes suggested 
in this department, and in spite of heavy rain it put business at the Rex Theatre, 
Sumter, S. C., some thirty per cent over the usual “book.” 


This Lindlar Lobby 
Cost Seven Dollars 

Oscar White, of the Rex Theatre, Sumter, 
S. C., is developing into a lobby expert. He 
gets more lobby for less money than any man 
in Southern Enterprises, and he gets some 
peaches, in spite of small costs. 

He adapted the Lindlar suggestion, with the 
changes suggested by this department, for 
“Over the Border,” and obtained a very sightly 
effect for seven dollars. The lobby frames for 
the feature are held in the cold storage section, 
but the comedy is put over with the potted 
plants which are used to suggest the United 
States. 

The arrangement suggests an entire front, 
but if you will analyze the effect you will find 
that comparatively little work has been done to 
gain the result, though you have to look closely 
to realize that Mr. White did not spend the 
better part of a day building his effect. 

That’s how he keeps costs down and results 
up. 

He had a heavy rain the two days this pic- 
ture ran, but in spite of that he managed to get 
better business by a third than the average 
records for the house. 

Thirteen in Family 
Paid One Admission 

Jazzing up summer business, F. L. Koppel- 
berger, of the Rialto and Majestic Theatres, 
La Crosse, Wis., foregathered with his press 
agent and decided to have family nights when 
entire families could enter the Rialto for 55 
cents and the Majestic for 28 cents. There 
was no limit placed on the number to be ad- 
mitted. 

It’s old stuff, but it was new in La Crosse 
and it got out the entire family, with the result 
that the house was packed on those nights and 
some of the family dropped in at other times 
when a “per each” price prevailed. 

Koppelberger, who is a First National fran- 
chise holder, started off the stunt for “My 


Boy,” and the first crack out of the box he 
drew thirteen people, the parents and eleven 
children. They all went in on a single ticket, 
but they came around and posed for a photo- 
graph which brought the house more publicity 
than the best straight advertising could have 
given. 

If you want to get a lot of excitement in 
your neighborhood, put on a family night, and 
have a photographer on the job. 


Make 9 Em Big 

Down at Coney Island, the other evening, we 
ran into Clive Hartt, one of the most adroit 
ballyhoo men who ever rubed the streets. He 
was working straight for one of the Luna 
Park concessions, but told us that he had been 
stunting for Harold Lloyd at a Bowery house, 


and showed us the glasses he wore with the 
sailor suit. 

They had been made by a blacksmith from 
3/16 iron rod and weighed about a pound, but 
Hartt explained that the regular tortoise shell 
rims did not give a sufficiently pronounced 
effect. It did not catch the crowd. 

He absentmindedly left the glasses on while 
he chatted, and though he was making no effort 
to collect a crowd at the time, he had them 
lined up inside of five minutes, waiting around 
to see what he was going to do. There is a 
suggestion here for exhibitors. Have big rims 
made up. 

Real Glass Windows 
Help McAvoy Title 

Real, for-sure glass in the window was the 
big angle of Ollie Brownlee’s advertising for 
May McAvoy in “Through a Glass Window” 
at the Palace Theatre. Muskogee, Okla. 

He copied the stunt from another house, but 
he had real glass set into a flat and back of 
this set a three sheet for the feature instead of 
setting up a real restaurant interior, as did the 
original. The window took up but a small part 
of the flat, the rest having the star and title 
lettered on the attention-getting red brick wall. 

Off to one side was an awning, in profile, 
and a sign stating that this was “Jennie’s 
Place.” 

It cost only $15 to build and brought a fifth 
more business than usual. 


Paid in Space 

Joe Cahill, of the Strand Theatre, Brockton, 
Mass., used a girl raffles for First National’s 
“Sonny.” You had to tell her that she was 
“Sonny’s” girl, and if she was. she led you 
down to the newspaper office, where you re- 
ceived fifty dollars. 

The stunt ran for about three days and 
brought in 290 inches of space — which is the 
interesting part of the story. 


Phone Numbers 

Just to be a little different, when the Regent 
Theatre. Galt. Ont.. got a hook-up page for 
“Beyond the Rocks.” instead of printing in the 
co-operatives spaces the names of those entitled 
to tickets, they used telephone numbers instead. 
Not much different, but sufficiently so to make 
new interest in an old stunt. 



A First National Release 


AND THEY PAID FIFTY-FIVE CENTS TO SEE MY BOY 

F. L. Koppelberger, of the La Crosse, (Wis.), Theatres, offered to let the entire 
family in one night a week for a flat payment of 55 cents. This shows what he got 
one night. He lost money but he gained a lot of advertising. 


September 2, 1922 


MOVING PICTURE WORLD 


53 



WHICH TYPE WOULD BE YOUR CHOICE— 
THE MAN OF THE OUTDOORS f 
OR THE MAN OF THE CITY % 




After You See 

“THE STORM’ 

AT THE CENTRAL THEATRE 

Write a 300 Word Answer on this Question and Win “Cash Prizes” 
READ THE 

EVENING MAIL 

— - FOR DETAILS =— == 


A GIRL - TWO MEN - TROUBLE. 

What would you have done? 

In “The Storm/’ now showing at the Central Theatre, Manette, the hero- 
ine of the story, faced such a situation. Alone with two men in a lonely 
cabin, both desperately in love with her — which would be her choice — 
“THE MAN OF THE GREAT OUTDOORS”— or the “MAN OF 
THE CITY”, 

Girls, what would you have done? Answer the question and participate 
in Great “Cash*’ ConteesL 


“The Man of the City” 

Lover of the ten dance — the gay cafe 
Broadway’s Arabian kingdom — a gay 
deceiver and a heart -breaker. 


“The Man of the Great 
Outdoor World” 

Fiaher — Hunter — Sportsman — Sinceri- 
ty itself — honest with himself and 
big as his great outdoors. 


24 CASH 

PRIZES 

First Prize - - - $50.00 

3rd Prize - - - $ 1 5.00 

2nd Prize - - $25.00 

4 th Prize - $10.00 

5th to 24th inclusive - 

- - - $5.00 each 


House Peters, Virginia Valli, Matt Moore, the three stars of “The Storm” will judge answers 


,A Universal Release 

GETTING THOUSANDS FOR AN INVESTMENT OF TWO HUNDRED 
Universal tied the Evening Mail to a contest on The Storm when that played the Cen- 
tral Theatre and not only got the publicity in the paper but commanded the fleet of 
delivery automobiles which covered the entire greater city each day. 


Newspaper Contest 
Brought Publicity 

During the run of “The Storm” at the Cen- 
tral Theatre, New York, the Universal hooked 
the Evening Mail to a contest with $200 worth 
of prizes and for that small investment ob- 
tained nearly three pages of publicity, and the 
sides of all of the delivery fleet which covered 
the greater city daily. 

In addition the Mail plastered the town with 
11 by 14 cards with announcement of the con- 
test and pictures of the two men, the contest 
hinging on the best 300 word letter on a choice 
of the two men. 

There were 24 cash prizes and for the small 
sum Universal obtained publicity worth thou- 
sands of dollars. 

The beauty of the scheme is that it puts over 
the idea of the story and makes for interest in 
the play. It is adaptable to all towns playing 
this super-Jewel and will make for interest 
wherever it is used. 


Blowing Its Horn 

There is a good suggestion in the stunt 
worked by the Rialto Theatre, Omaha, on “One 
Clear Call.” It was announced that the cham- 
pion bugler of the army would give the regula- 
tion calls from the marquise of the Rialto just 
prior to each presentation, and large crowds 
gathered for each showing. 

You may not be able to get army champions, 
but there are always the Boy Scouts, and if 
there is more than one troop you can stage a 
contest for the buglers, and substitute local 
interest for championship honors. 


Cruelty 

It was plain lowdown mean of Earl Haas, 
of the Midland Theatre, Hutchinson, Kans., to 
revive long dead memories by sending a sprig 
of mint in his mailing pieces. The text read : 
“In Lotus Land they eat leaves like this to 
win soothing peace and dreamy delight. John 
Barrymore inspires that in ‘The Lotus Eater,’ 
coming to the Midland.” 

The strong odor of the mint penetrated the 
envelope and led the recipient to open and read, 
and he went to see the show because it sounded 
so interesting in these days when they use mint 
only in chewing gum. 

It was clever, but cruel. 


Coals of Fire 

Pomeroy, Ohio, is a closed Sunday town, 
largely through the efforts of the clergymen. 

Lately the churches had to close because the 
coal strike had cut down the electric current 
available. 

A. W. and R. T. Kasper conduct the Electric 
Theatre, the First National franchise holder, 
and they have their own gas generator set and 
are independent of local conditions. 

They offered the house for a joint service 
Sunday nights, and the offer was gladly ac- 
cepted. It probably will not open the town 
on Sundays after the strike, but it is going to 
create a feeling of good will that will last for 
a long time. 


Added a Lantern 

There is nothing new in a street walker who 
is looking for the subject of a photoplay, but 
Litchfield, Conn., added to the stunt. The 
Unique Theatre used an old man in tattered 
clothes and a long beard to perambulate the 
streets with a sign on his back announcing: 
“I am looking for ‘My Boy.’ ” 

The kicker lies in the fact that at night, 
when the man can do the most good, a lantern 
carried on a stick over his shoulder, illuminated 
the sign. 


Hooked to Drive 

Down in Tacoma they think that the reason 
people hustle back to Seattle is because they 
lack hotel facilities there; in spite of the fine 
Tacoma Hotel, so there is a drive on for 
$2,000,000 for a new hotel. 

When Norma Talmadge played there in 
“Smilin’ Through,” the Ad Club was permitted 
to string a banner across the street reading : 
“Come ‘Smilin’ Through’ on the new hotel.” 

Then they put sashes on the ushers and en- 
joyed quite a comfortable week. 


At ’Em Again 

Now that the Navy is again recruiting in the 
inland towns, the First National is tying 
“Hurricane’s Gal” to the scenes in that produc- 
tion made with the aid of the Navy. 

The Des Moines Theatre, Des Moines, was 
the first to use the idea and got posters in all 
sorts of prohibited places which read: “Se§ 
the Navy in action, all this week, in ‘Hurri- 
cane’s Gal,’ at the Des Moines Theatre.” 

This gave the Navy a chance to jazz up the 
recruiting campaign, and helped both sides to 
the contract. 



A Paramount Release 

SPELLING THE TITLE IN BUILDING BLOCKS HELPS 

Barry Burke, of the Palace Theatre, Fort Worth, Texas, borrowed a set of building 
blocks and worked out the title in conjunction with the cutout from the six sheet. 
With a few other toys this made an effective and selling display. 


54 


MOVING PICTURE WORLD 


September 2, 1922 



A Pathe Release 


THIS MUSIC STORE BROADCASTED ZORDA SONG 
Grubb’s Music Store, Toledo, not only made a fine display of the sheet music, but 
it painted up the window and broadcasted the song through a magnavox, feeling 
that what was worth while doing was best done as thoroughly as possible. 


Finds a New Idea 
for “School Days ” 

We supposed that all of the ideas had been 
worked out on “School Days,” but A. H. Cobb, 
Jr., of the Alamo Theatre, Griffin, Ga., found 
a new kink for putting over Wesley Barry. 

He made a slate about the size of a six sheet 
and used this for his chief lobby display. 
Across the top was the offer of $5 for the best 
comment on the play in ten words or less. A 
cutout of the back view of the youngster was 
placed as though looking at the comment. 



A Warner Bros. Release 


The Cobb Blackboard 

The comment was to be written on the board, 
and the name signed to the line. So many used 
the board that Mr. Cobb had to blacken the 
rear of the board to get them all on. Each 
time anyone stopped to write, a crowd would 
gather. 

At first only the children used the board, 


but after Mr. Cobb had persuaded a couple of 
well-known persons to add their comment, the 
others came in and all of the leading citizens 
were finally represented. 

The stunt cost $8.50, including the prize, and 
can be adapted to a large number of titles. 


Beat Speed Laws 

T. B. Noble was substituting for Charles 
Sasseen, of the Queen Theatre, Galveston, while 
the latter took his vacation, and he felt that it 
was up to him to do something real. 

Most of the crowd was going to the beaches, 
so he sent a Ford car down to ballyhoo for 
“Across the Continent” and got the authorities 
to permit the chauffeur to exceed the speed 
limit. The car shooting up and down the street 
got twice the attention a slower motion would 
have commanded. 


Horseshoes and 

Jockeys 

Besides tying the book-store to Wildfire, 
the novel from which “When Romance Rides” 
was developed, A. L. Snell, of the Imperial 
Theatre, Gadsden, Ala., used a little boy and 
girl, each dressed as a jockey, riding in pony 
carts. When not on the streets, they hitched 
in front of the house. 

The lobby was simply, but effectively dressed 
with three horseshoes of compoboard, one for 
each entrance and one in front of the box- 
office, along the lines of the original sketch 
shown in this department. 

It was not a heavy drive, but it sufficed to 
get a good business for the Goldwyn. 


Shoeing Them In 


A Pathe Release 

COOLING THE PHILADELPHIA PEDESTRIANS 


The Palace Theatre made a display of suggestively cooling scenes from “Nanook of 
the North,” and the appeal was so strong that it pulled a lot of business right off the 
hot sidewalks. The box office was framed to suggest a snow hut. 





Hugo Plath, of the Queen Theatre, Abilene, 
Tex., seems to have figured that getting fitted 
with shoes was an ordeal. At any rate he tied 
a shoe company, which was having its annual 
sale, to Agnes Ayres in “The Ordeal.” 

They gave a pair of shoes of the size worn 
by Miss Ayres to the woman who could wear 
them, and in return, Plath gave each customer 
a ticket to the show, getting painted signs and 
cutouts in the window and store. 

The cash outlay was one dollar and the 
business gain was ten per cent. 


On His Job 

Manager Johnson, of the Isis Theatre, 
Augusta, Kans.. does not doze at his desk while 
Opportunity knocks vainly at his door. He is 
out on the street, looking for her. 

So it happened that Johnson noticed a bally- 
hoo for a shoe polish working on Main street 
and getting a crowd with daredevil stunts. It 
got a larger crowd than Johnson could pull, 
because it was a free show, so Johnson inter- 
viewed the manager. 

Next time they stunted, the display banner 
read : "Use Blank’s shoe polish and you'll go 
‘Smilin’ Through’ 1922.” At the same time 
heralds were released to the crowd. 

It cost Johnson the banner, the heralds and 
passes for the stunters. 


September 2, 1922 


MOVING PICTURE WORLD 


55 


Gordon Agent Sends 
Some Good Displays 

Dann Finn, of the Gordon theatres, in Lynn, 
Mass., sends along a couple of displays to show 
that while Boston may be slipping in its adver- 
tising quality, the surrounding towns are hold- 
ing to the traditions created when Boston was 
doing well. The best of the lot is for “One 
Clear Call,” which is displayed in a 125 by 5. 
This is a comparatively large space and gives 
room for a clear title in so large a letter that 
reverse helps instead of hurting as is too often 



A First National Release 

NICELY LAID OUT 


the case. In only one point does Mr. Finn fail 
to put it over. He does not avail himself of 
the star cast and his only reference is: “Six 
great stars with ‘the little Colonel’ in his great- 
est role since his contribution to the fame of 
‘The Birth of a Nation.’ ” This scarcely iden- 
tifies Walthall to a large body of theatregoers 
who connect his fine work with more recent 
successes. “Henry Walthall, the ‘Little Colonel’ 
of The Birth of a Nation” might have been 
better, but we believe that naming all six stars 
would have constituted a stronger appeal. 
Doubtless this was carried over in the text of 
the reading notices, but the appeal is too good 
not to be used in all printed matter, on the 



Entire Change of Vaudoville Sunday, Monday, Thursday 


SUNDAY ?sr„r,%s 


Monday, Tuesday, Wednesday 

BERT & BETTY ROSS 


BOB ALBRIGHT & CO. 

R A P P 1 Th * v hTuItu" 




VANE & VERNON | ALFRED PARKER 

NEVINS & MAYO 


SOUTHERN FOUR 


anna-LYNN MILLER— harry 


^ ■— — — 

A First National Release 

SMALLER, BUT AS GOOD 

principle that too much use cannot be made of 
a strong selling point. On the other hand, 
there is some strikingly good sales talk near 
the bottom of the space, where the sumptuous 
mounting is claimed merely as the background 
for the stirring story. Evidently Mr. Finn 
knows that the play is the thing, and that a 
story will sell better than a costly production. 
Anyone can hire a corps of extras, but patrons 


want plot rather than processions, and Mr. 
Finn makes it patent that he has this to offer. 
The second display is only 120 by three, calling 
for a nicer handling to achieve the same effect. 
The shorter title makes possible the same re- 
verse display for the offering, but here the star 
is made clear, both in letter and portrait, and 
you know just what you are being offered. 
Here, too, the idea of story is put forward over 
the star or the title. It is “Dedicated to every 
mother’s son and every son’s mother,” which 
sounds as though it might have come from the 
press book, and it is also “a rare film flower; 
more striking than Flanders poppies.” Even 
better, in a way, is his handling of “Nanook of 
the North,” which starts off with a heavy “For 
heaven’s sake,” and runs into a smaller : “Don’t 
you tire of seeing the same old characters?” 
Nine tenths of the readers are sold right there 
and read the rest merely for the information 
they seek as to the play. There is a good cut 
layout and this title is not displayed in reverse 
because there is too much of it to go well on 
a black ribbon. Mr. Finn sends his stuff in 
without comment, but we think he knows that 
he is decidedly better than the average; par- 
ticularly in the writing of sales copy. Mr. Finn 
sends in a sample of his layout, with a portrait 
taken from some advertisement. Many en- 
gravers will argue that a good line cut cannot 
be made from a half tone, though we never 
could understand why they should cherish such 
a belief. In any event, Mr. Finn’s layout for 
“Sonny” is done with a minimum of art work. 
The signature is clipped from an old adver- 
tisement, the portrait is made from a printed 
half tone, slightly, but very skillfully touched 
up by his artist, the tableau sketch is another 
paste-up, and the date, the title ribbon and the 
two lines just below are all the art work re- 
quired outside of the border. The saving in 
cost is probably considerable, and the result 
speaks for itself. 

— P. T. A.— 

Providence Splash 
Is Mostly in Type 

Providence used to run to hand lettering and 
obscure lines, but the Strand and Modern the- 
atres have set a good example the others seem 
to be following. These houses realize that 
type is better than the best work their studios 
can put out, so their artist is confined to the 
frames and attractors and the idea seems to be 
to get as much room as possible for the type 
and then to give this room for display. The 
reproduction on this page is a half page space, 
running at the top of the page, which partly 
explains the reverse strip across the bottom, 


which not only gives the underline, but which 
also serves to cut this off from the advertise- 
ments appearing below. This rather heavy 
space not only dominates the amusement page, 
but it gives the impression that there are two 
classes of picture theatres, these and the others, 
since none of the other houses uses a propor- 
tionate space. This is the only reason for 
taking the space, since the house could make as 
good a display in fewer lines were it not for the 
moral advantage a dominant space always 
gives. The sketches and layouts are better 
than the copy writing, for the description is 
rather cold. It is not easy to enthuse over 
pictures you have not seen, but it is possible 
to convey the suggestion that the pictures are 
worth while. Jazz writing would help a lot. 
For example, the Hitchcock copy might have 
read : “You know Hitchcock — Raymond Hich- 
cock — ‘Hitchy.’ If you don’t it’s time you do, 
but of course you do know him. And you re- 
member his success in ‘The Beauty Shop.’ The 
part was written to fit him like a glove, and 
when it was brought to the screen it was felt 
that he alone could play it as it deserved to be 
played. And, of course, ‘Hitchy’ would be only 
half complete without a bevy of pretty girls 
and more girls and some more yet. You’ll see 
some of the prettiest girls you ever met off a 
magazine cover, you’ll see one of the funniest 
men on the American stage in one of his most 
lasting successes, and you’ll see a better pro- 
duction than you saw in the musical comedy, 
for the camera can tell what the play could only 
hint at. You can’t tell a story like ‘The Beauty- 
Shop’ in three acts. Fou have to jump all 
over America and Europe to tell it right, and 
this is just what the producers have done. If 
you like good comedy, come. If you like pretty 
girls, come early. If you like a really jazzy 
sort of play, come and you’ll come again. Once 
won’t enough.” That takes a little more space, 
but it will get the idea over. 

— P. T. A.— 

Ohio Theatre Sells 
Right to the Limit 

One of the best displays we have come across 
since the hot weather began to get in its work 
comes from the Ohio theatre, Indianapolis, on 
“The Wall Flower.” You are not sold on the 
title first off. You are caught by the gawky- 
girl and the eloquenly empty chairs. You know 
that she is a wall flower before you get the half 
buried title. The top sketches get half your 
attention next. They are funny, but they are 
also explanatory. The girl down below has- 
three chairs to herself because she cannot dance. 
From there you finally arrive at the title, but 



and the be 


“ The 

BEAUTY 
SHOP” 

The aristocrat of comedy iTo- 
mancea, adapted from the big 
Broadway stage success. A 
|jay whirl of pretty girls, 
dancing! love-making, real 
action — and more fun than 
a dozen ordinary comedies 
^Ojpbincdl 

RAYMOND HITCHCOCK 

LOUISE FAZENDA 
JAMES J. CORBETT 
LAURANCE WHEAT 
iful dancing Fairbanks Twins 

PAULINE STARKE in " SALVATION NELL" 

SPORT PICTORIAL. "BYWAY CHAMPIONS" 


Thomas 

MEIGHAN 

In a Gcefgo Ado Slopv 

“ Our Leading 
Citizen ” 

A story written especially for the 
star by America’s leading humorist! 
With Meigban as a big, lovable ne’er- 
do-well who turned Main Street 
Bunny side out More fun than the 
circus; more American than buck- 
wheat cakes. 

With 

LOIS WILSON 
THEODORE ROBERTS 

And a Great Supporting Cast 


MAY McAVOY 

‘The Top of New York’* 


Paramount-Mack Sennett Comedy 
e of Baldness, " with Chester Conklin and Mary Thurman 



COMING 

NEXT 

WEEK 


The Spectacular Paramount Production 

‘The LOVESo«PHARAOH' 

William Russell in “A Self-Made Man” 


COMING 

NEXT 

WEEK 


JACKIE COOGAN 

m “ TROUBLE ” 

‘‘Little Women," "0- With All-Star Cast;, 


Paramount Releases 

A CAPITAL HALF PAGE DISPLAY FOR TWO PROVIDENCE THEATRES 




56 


MOVING PICTURE WORLD 


September 2, 1922 


that is merely so you can know what it is you 
are going to see. The chances are that you 
have already decided to see it. You are only 
mildly interested in the title. In this case it is 
merely a handle. But if you have the slightest 
fear that the picture will not live up to the 
sketches, there are eight lines of sales talk that 
alone could sell you, even though you had 
not already begun to wonder how Colleen 
Moore could be a wall flower. Even the place- 
ment of the figure in the bottom sketches calls 


She blended info fhe wall - 

‘*%WAU 



f/FLOWER 

RUPERT HUGHES 

featurin g 

COLLEEN MGDRE .kjCHARD Dtx , 

Tom Gallery, EauraEoPlome.GerfaicleAstor 



A Goldwyn Release 

A STRONG SELLER 


for comment. If the girl sat in the middle 
chair, it would only break into the text space, 
but the drawing would be too formal to catch 
the eye. It would look too patently an appeal 
to curiosity, and also you would get less the 
impression of a long row of chairs from one on 
either side than you do from the two empty 
chairs side by side. The artist may not have 
figured it all as closely as this. He may have 
done his work instinctively, without stopping 
to reason it out, as a good artist will. The 
space comes closer to being a good selling ad- 
vertisement than anything we have shown on 
this page for a number of weeks. At the same 
time it is a distinctly attractive space. 

— P. T. A.— 

Artistic Lettering 
Does Not Sell Seats 

This 105 lines by three from the Circle, 
Indianapolis, is rather ineffective because there 
is nothing strong in the entire display and so it 
does not suggest a strong program. The pro- 
gram itself is attractive, but the mental sugges- 
tion is lacking, and the space falls. In the first 
place the cut is too small ; not the space oc- 
cupied bv the cut, but the cut itself. It is 
beautifully done, but it is not striking, and it 
is further overshadowed by the figure of 
“Justice” in the background. The picture of 
Miss MacDonald alone might have gotten over, 
but here each detracts fom the other and the 
display looks dwarfed. Even alone, the cut 
would be too small for the space. A large head, 
forcefully drawn, with a mysterious arm hold- 
ing the scales would have carried the same 
idea and would have heightened the display 
value. But the lettering and the handling of 
the program is the real failure of the space. It 
is very pretty lettering; as good as the work 
we get from Eddie Hyman, but there is no 
color to back things up. The title in an eighteen 
point bold could have run in the same space 
and would have been more pronounced. The 


display value of bold type as compared to this 
fancy letter would have been in the same pro- 
portion as the relative value of a three and a 
24-sheet. The smaller features should have 
been displayed in about a fourteen point with 
a few lines of selling talk. Here it is all an- 
nouncement. The Overture is that to “The 
Merry Wives of Windsor,” there is a “roaring 
comedy,” there is an organ solo and a natural 
color picture, but there is nothing to get you 
interested in any one of these items, because 
they are all merely announced and not sold. It 
all suggests something rather less than nothing, 
where the same bill, played up in type and 
talked about could have been put over. The 



First National Release 

TOO WEAK TO ATTRACT 


general effect is to tell you that there is a show 
at the Circle, but you are not given the slightest 
desire to see it. If you are determined to go, 
that is what you will see, but no one seems to 
care whether you come or not, and you include 
yourself in that category, if you are an amuse- 
ment seeker and are nol thoroughly sold on the 
Circle idea. Make a noise about your show 
whether you have a first run or a year-old sub- 
ject. At least act as though you were proud 
of it, and the newspaper column is not the place 
to be artistic. 

— P. T. A.— 

u Nanook ” Advertising 
Suggests the Snows 

Most exhibitors who have played “Nanook 
of the North” have been quick to use the 
snow angle for the appeal. Loew’s Columbia 
theatre, Washington, uses the snow-clad letter- 
ing for the title, but makes the animals the 
cut appeal, the layout suggesting the advertis- 
ing for ‘Strongheart.’ It is simple and effective, 
but puts all of the real selling over to the type, 
since the cut serves only as an attractor to the 
space. It performs this office very well, but it 
does not do more. However, the frozen letters 
and the well-written text complete the sale to 
most persons ; a sale which might have been 
made more directly through the use of the 
Eskimo figure instead of the dog. As a rule, 
this head would have been capital — it is for 
that matter — but where there is available a 
stronger appeal, that bid should be used to make 
selling the more complete. Doubtless this sold 
as well but it took a longer time, since the 
patron had to be argued with, and it leaves a 
better effect when you can get him in without 
a struggle. This seems to be the case where 
a good idea has been represented, because it 
was a good idea originally and without refer- 
ence to other angles. The use of Strongheart 
for “The Silent Call,, was indicated because 
the dog was more than half the show and be- 
cause that was the chief thing to make the sale 
with. Here the attractor is as strong, but not 



as strong as other angles, for which reason it 
is not the best possible means of getting atten- 
tion to the play. The most interesting thing 
about this advertisement is the exceedingly neat 
layout ; which is even better than the average 


A Paths Release 

A GOOD ATTRACTION 


of this house. Nanook is selling a lot of 
tickets these hot days, and the sale is largely in 
ratio to the emphasis given the Arctic locale. 
To this end every effort should be made to 
explain that “of the North” does not refer to 
the region inhabited by mounted policemen and 
their quarry, but to a land still nearer the 
pole. The more stress given the Arctic Circle, 
the better the sales. 

— P. r. A.— 


CHRISTMAS IS COMING 

Probably you know that, but 

DO YOU KNOW 

that in Picture Theatre Advertising 
you can find a lot of schemes to hold 
up your business in the dead two 
weeks before the holiday? 

And not only that — 

you can find other schemes for the 
holiday season, any one of which will 
bring in many times the two dollars 
the book costs and you will get 

FREE 

all the other schemes in the book for mid- 
summer and in between; both ways from 
July 4. Not theory. Not Guesswork. Tried 
and tested ideas. By mail, postpaid, for two 
dollars the copy. 

MOVING PICTURE WORLD 

516 Fifth Avenue New York, N. Y. 


A Hyman Novelty 

One of the recent productions by Eddie 
Hyman at the Mark-Strand, Brooklyn, is a drop 
painted in a neutral color with a large circular 
opening. This opening occupies about two- 
fifths the width of the drop. 

In the circle stands a singer against a 
brightly lighted painted ground, while in front 
dancers in white robes interpret the song being 
sung. This makes a production of a simple 
song number and greatly increases the appeal. 
With a change in the backings, the set can be 
used repeatedly. An iris effect can be worked 
with wings to slide across the opening, each 
half being cut to match the radius of the circle, 
or the opening can be covered with scrim and 
the lights dimmed out, if desired. Played 
straight it made a decided hit with the Strand 
audiences. 




September d, 1922 


MOVING PICTURE WORLD 


57 


Straight from the Shoulder Reports 

'Department Jor the Information of Exhibitors 


American Releasing 

BELLE OF ALASKA. Picture is very 
good. No exhibitor need be ashamed to run 
it. I did not do very well, but it was due to 
warm weather and dull times. No fault of 
the picture. Benj. William Fey, Madison 
Theatre, Seattle, Washington. 

MAN’S LAW AND GOD’S. Fair picture 
of Northwest Mounted Police. Stars (Liv- 
ingston and Shannon) not known. Adver- 
tising; newspapers, lobby. Patronage; 
mixed. Attendance ; fair. King Solomon, 
Bijou Theatre, Clarksburg, West Virginia. 

Equity 

WHERE IS MY WANDERING BOY 
TONIGHT? This picture made box office 
history for us. Seven reels of showmen’s 
hokum, but it pleases and gets the business. 
Ran two days; big second day. Advertis- 
ing; everything, cards, heralds, posters all 
over town, lobby display and slide cam- 
paign. Patronage; mixed. Attendance; ex- 
tra good. Alfred N. Sack, New Dreamland 
Theatre, San Antonio, Texas. 

F. B. O. 

GLORY OF CLEMENTINA. Just gets 
by. Pauline Frederick’s admirers, and they 
are legion, will be satisfied, but not enthusi- 
astic. Pleased 60 per cent. Patronage ; high 
class. Attendance, fair. E. W. Collins, 
Grand Theatre, Jonesboro, Arkansas. 

First National 

CROSSROADS OF NEW YORK. Excel- 
lent entertainment from beginning to end. 
For four and a half reels the audience ap- 
plauded and laughed heartily; then, wow! 
— one and a half reels of thrills and real 
melodrama that caused one to hold to the 
seat, and a climax that sent them out chat- 
tering and praising the show. All seemed 
well pleased and if they had not been I 
would have felt like calling the coroner. 
I ran a Buster Keaton, “My Wife’s Rela- 
tions” with the feature. This class of fea- 
tures will put the motion picture back on 
the map. Characterization good; photog- 
raphy good. In all, a dandy show. H. J. 
Longaker, Howard Theatre, Alexandria, 
Minnesota. 

GOLDEN SNARE. Average Curwood 
picture to very poor business. No fault 
of picture as Curwoods always pull fine. 
Advertising, usual. Patronage, small town. 
Attendance, poor. W. Ray Erne, Rialto 
Theatre, Charlotte, Michigan. 

MY BOY. Personally I thought this much 
better than “Peck’s Bad Boy,” but several 
of my patrons told me that they did not 
think so. Advertising, twenty-four sheet, 
ones, photos, etc. Patronage, small town. 
Attendance, good. Wm. E. Tragsdorf, 
Trags Theatre, Neillsville, Wisconsin. 

MY LADY FRIENDS. Nothing to it for 
me. Patrons walked out before it was fin- 


Edited by A. Van Buren Powell 


Sincere exhibitors are sending 
these tips to help you book your 
show. Their reports are printed 
without fear or favor. If a pic- 
ture is good, bad or ordinary, you 
will find it out here. Turn about 
is fair play; let these exhibitors 
guide your bookings, and in turn 
let’s hear from you. 


ished. All reported it the nearest to nothing 
they had ever seen. Advertising, ones and 
photos. Patronage, general. Attendance, 
fair. R. Mason Hall, Grand Theatre, North- 
fork, West Virginia. 

ONE CLEAR CALL. Good in many re- 
spects. A picture worth while booking. 
Scenario good, acting superb. J. Carbonell, 
Monroe Theatre, Key West, Florida. 

POLLY OF THE FOLLIES. One that 
will make you forget your worries. Pleased 
100 per cent. Advertising, photos, ones and 
dodgers. Patronage, general. Attendance, 
extra good. R. Mason Hall, Grand Theatre, 
Northfork, West Virginia. 

R. S. V. P. Rather slow. Not up to the 
Ray standard, but it’s much better than the 
ordinary picture. Advertising, newspaper, 
twenty-four sheet, photos. Patronage, first 
class. Attendance, good. J. Kenrick, Strand 
Theatre, Ithaca, New York. 

SEVENTH DAY. Not exactly up to pa- 
trons’ expectations. They expect more from 
Barthelmess. Not bad, however. Advertis- 
ing, extra. Patronage, better class. Atten- 
dance, fair. K. H Sink, Wayne Theatre, 
Greenville, Ohio. 

TOL’ABLE DAVID. Great! A perfect 
picture. One of the best we ever played. 
One hundred per cent. Advertising, extra 
campaign. Patronage, high class. Atten- 
dance, good. E. W. Collins, Grand Theatre, 
Jonesboro, Arkansas. 

TWO MINUTES TO GO. Best Ray pic- 
ture we have had, and our people seemed to 
like it. Has a college football spirit that 
is most pleasing all the way. Patrons 
seemed to like it and came out good for it. 
Ben L. Morris, Temple Theatre, Bellaire, 
Ohio. 

WOMAN IN HIS HOUSE. This is a won- 
derful picture. Lots of truth. The baby is 
a wonder. Advertising, three sheet, posters. 
Patronage, mixed. Attendance, fair. D. D. 
Purcell, Muse U Theatre, Cortez, Colorado. 

THE WOMAN’S SIDE. Good beginning; 
bad ending. Seemed as though it was 
chopped off. Too abrupt. Advertising, 
papers and posters. Patronage, small town. 
Attendance, poor. J. Carbonell, Monroe 
Theatre, Key West, Florida. 

Fox 

ARABIAN LOVE. If Fox will send you 
a good print on this, you can step on this 
one harder than you did on “Sheik.” My 


patrons told me they liked this one better 
than “The Sheik,” although Gilbert doesn’t 
wear any patent leather hair. Advertising, 
did not advertise this half enough. Patron- 
age, small town. Attendance, very good. 
Wm. E. Tragsdorf, Trags Theatre, Neills- 
ville, Wisconsin. 

BAR NOTHING. The best Jones we have 
had. Advertising, ones, slide. Patronage, 
small town. Attendance, fair. E. S. French 
& Son, Memorial Hall, Pine River, Minne- 
sota. 

JACKIE. This pleased the majority. 
Touches of humor overcomes weak tenden- 
cies. Fourth spoiled the crowd. Advertis- 
ing, ones, slide, cards. Patronage, small 
town. Attendance, fair. R. K. Russell, 
Lyric Theatre, Cushing, Iowa. 

LAST TRAIL. Extra good picture; also 
good star. Well directed. Book it; it’s a 
money getter. Advertising, paper and post- 
ers. Patronage, small town. Attendance, 
good. J. Carbonell, Monroe Theatre, Key 
West, Florida. 

ONE MAN TRAIL. A very good Buck 
Jones’ Western, but the film was in such 
terrible shape that there was not much left 
but a few grease spots. Patronage, small 
town. Attendance, good. Wm. E. Trags- 
dorf, Trags Theatre, Neillsville, Wisconsin. 

QUEEN OF SHEBA. From looks of the 
press book I imagined it would be mainly 
an excuse to show some beautiful women 
with as few clothes on as possible; but I 
find that it has a real plot. The chariot 
race is exciting. Advertising, ones, threes, 
twenty-fours, slide and program. Patron- 
age, neighborhood. Attendance, fair. H. L. 
Fox, Tokio Theatre, Morehouse, Missouri. 

ROAD DEMON. Excellent attraction ; 
plenty of speed and action. Our first Mix. 
They are asking for more. Advertising, 
three and ones and lobby cards. Patron- 
age, mixed. Attendance, good. M. J. Brad- 
ley, Airdome Theatre, Thornton, Arkansas. 

SHAME. Overdrawn. Pretty colors in 
the film. It was a “shame” to call it a spe- 
cial. Advertising, posters, etc. Patronage, 
best rural. Attendance, fair. R. A. Augh- 
inbaugh, Community Theatre, Lewiston, 
Ohio. 

SKY HIGH. Pronounced by Mix fans to 
be poor but contains beautiful scenery of 
Grand Canyon. Patronage, small town. 
Attendance, fair. T. W. Cannon, Majestic 
Theatre, Greenfield, Tennessee. 

STAGE ROMANCE. Not the kind of a 
picture fans like to see Farnum in. Result, 
after hard plugging to get them in, your au- 
dience is disgusted with it. Why don’t Fox 
get next to himself and give us Farnum in 
some more like the old-time “Spoilers” and ' 
leave “If I Were King” and so on over in the 
old country? Advertising, billboards, her- 
alds, newspapers and windows. Patronage, 
mixed. Attendance, fair. J. S. Kallet, 
Strand Theatre, Rome, New York. 

UP AND GOING. Good Tom Mix picture 
but not as satisfactory as “Trailin’” as a 
production. Patronage, general. Atten- 
dance, fair. Jack Kaplan, Royal Theatre, 
South Fallsburgh, New York. 


58 


MOVING PICTURE WORLD 


September 2, 1922 


Goldwyn 

BRANDING IRON. I thought the morals 

of the picture were a little hazy in places, 
but for a town that is not too critical it will 
go over nicely. The heat was something 
awful on the night that I played it but they 
came out just the same. Advertising, used 
special card with mailing list, also usual ones 
and slide. Patronage, small manufacturing 
town. Attendance, good, considering hot 
weather. M. V. Cousins, People’s Theatre, 
Pineland, Texas. 

COME ON OVER. You tell the world 
that this picture will please as nearly all 
of them as anything ever made. It certainly 
is a peach of a picture. Ned Pedigo, Pol- 
lard Theatre, Guthrie, Oklahoma. 

GODLESS MEN. It had a moral but that 
•did not pay my expenses. I could not get 
them out on this. Advertising, lobby, slide, 
one sheet. Patronage, mixed. Attendance, 
poor. R. S. Moore, Gem Theatre, Snyder, 
Oklahoma. 

JUST OUT OF COLLEGE. Absolutely 
fine. A little old; but it will please any audi- 
ence. Advertising, nothing special. Patron- 
age, mixed. Attendance, fair. R. S. Moore, 
Gem Theatre, Snyder, Oklahoma. 

NORTH WIND’S MALICE. Another 
good Rex Beach story that pleased. Patron- 
age, small town. Attendance, fair. G. H. 
Jenkinson, Victor Theatre, Minocqua, Wis- 
consin. 

POVERTY OF RICHES. A 100 per cent, 
picture; pleased everyone who saw it. Awful 
hot. Advertising, lobby, newspaper and 
billboards. Patronage, mixed. Attendance, 
poor. O. W. Harris, St. Denis Theatre, Sa- 
pulpa, Oklahoma. 

WATCH YOUR STEP. Cullen Landis, 
star — for this picture, says it all for us. One 
of the very best comedy dramas of the year. 
Pleased just about all of them. It has class 
written all over it. If this fails to please, 
you had better shut up your show shop and 
•do something else. Ned Pedigo, Pollard 
Theatre, Guthrie, Oklahoma. 

Wid Gunning, Inc . 

GIRL FROM GOD’S COUNTRY. Plenty 
of outdoor action and thrills. Advertising, 
usual. Patronage, better class. Attendance, 
fair. K. H. Sink, Wayne Theatre, Green- 
ville, Ohio. 

Hodkinson 

KING SPRUCE. A good north wood pic- 
ture, good story. Pleased. Advertising, 
ones, slide. Patronage, small town. Atten- 
dance, fair. E. S. French & Son, Memorial 
Hall, Pine River, Minnesota. 

Metro 

DONT WRITE LETTERS. Our people 
go to our competitor’s theatre whenever we 
show a Gareth Hughes’ picture. Somehow 
or other he does not take with the masses 
who patronize the movies. Picture a pro- 
gram offering, nothing more. Chas.. H. 
Ryan, Garfield Theatre, Chicago, Illinois. 

FOUR HORSEMEN. As every exhibitor 
knows it’s a wonderful picture, but didn’t 
make money for me. Patronage, small town. 
Attendance, good. G. H. Jenkinson, Victor 
Theatre, Minocqua, Wisconsin. 

I CAN EXPLAIN. Not much to this one. 
Manv walked out on it, saying it was stu- 
pid, silly, etc. Advertising, usual. Patron- 
age, neighborhood. Attendance, poor. J. 
A. Emery, Star Theatre, Bar Harbor, 
Maine. 


Between Ourselves 

A get-together place where 
we can talk, things over 

This incomplete film “crime” has 
a lot to it. Dave Seymour leaves 
his Pontiac Theatre Beautiful au- 
ditorium long enough to dash in a 
note about it, admitting it’s too 
big to handle hastily, but giving 
some straight stuff just the same. 

“It has many interlocking an- 
gles,” he says, “ ‘Bum’ equipment 
in the cheaper houses, and all that 
stuff, which tends to put a com- 
paratively new film on the fritz. 
The little theatres have an alibi; 
the producer or distributor has an 
alibi; and it looks to me like when 
they send the film to the very 
small towns that they don’t care 
whether their product is in good 
shape or not — it’s the last drop out 
of the lemon and they should 
worry, and the rentals are not suf- 
ficiently large to keep the film in 
shape.” 

Truth, sure enough! But the 
exhibitor owes it to his fellows to 
see that the picture is treated 
white. As for the distributor, 
does he SELL THE PICTURE AS 
DAMAGED GOODS? 

Let’s get rid of this incomplete 
show thing. It hurts business! 

VAN. 


THEY LIKE ’EM ROUGH. Step on it. 
boys. It’s a corking good one, and will 
please 100 per cent. Different from usual 
run of Dana’s and will please all classes. 
Price was right on this one, but they want 
a 50 per cent, advance on the next. Don’t 
we small town exhibitors catch the old 
Nick? Advertising, heralds, mailing list, 
threes and ones. Patronage, small town. 
Attendance, good. J. F. Pruett, Liberty 
Theatre, Roanoke, Alabama. 

TURN TO THE RIGHT. Contains all the 
charm and humor that made the play so 
successful. Did not draw well, but would 
call it a thoroughly pleasing picture. Adver- 
tising, rather heavy campaign. Patronage, 
high class. Attendance, poor. E. W. Col- 
lins, Grand Theatre, Jonesboro, Arkansas. 

WITHOUT LIMIT. Good picture. A 
trifle too heavy for our people. Laboring 
men here for season walked out on this. 
No favorable comments from patrons. Ad- 
vertising, newspaper and lobby display. 
Patronage, general. Attendance, poor. 
Smith & Correll, Portland Theatre, Cassel- 
ton, North Dakota. 

Paramount 

BEYOND THE ROCKS. A good picture 
of its kind, photography is splendid, but the 
story is of the calibre that our patrons do 
not care for, except the women ; they like it. 
The pictures which they rave over in the 
cities many times fall flat in the small towns. 
Advertising; two columns, twelve inch, two 
papers. Patronage; country town. At- 
tendance poor. Columbia Theatre, Colum- 
bia City, Indiana. 


BEYOND THE ROCKS. This pleased 
100 per cent. If you have a town that likes 
Gloria Swanson and Valentino be sure and 
grab this one; it will get you the money 
and please them mostly all. Patronage; small 
town, all classes. Attendance ; good. A. 
Mitchell, Dixie Theatre, Russellville, Ken- 
tucky. 

CALL OF THE NORTH Plain, ordinary 
“pitcher.” Couldn’t call it bad, yet it’s not 
good enough to recommend to your patrons. 
Advertising; newspapers, photos, posters. 
Patronage; small town. Attendance; poor. 
A. La Valla, Community Theatre, Bethel, 
Connecticut. 

FOREVER. Too intricate; dream pic- 
tures don’t go. Star’s work, as usual, very 
good. Advertising; posters and papers. 
Patronage; small town. Attendance; fair. 
Juan Carbonell, Monroe Theatre, Key West, 
Florida. 

GREAT MOMENT. Very good picture. 
Swanson at her best. Pleased the patrons. 
Advertising; extra. Patronage; small town. 
Attendance; good. Mrs. J. B. Travelle, 
Elite Theatre, Placerville, California. 

HEART SPECIALIST. Mary Miles Min- 
ter was well liked by our patrons. Adver- 
tising; lobby, newspaper and photos. Pa- 
tronage ; mixed. Attendance ; good. Thomas 
Clark, Electric Theatre, Maryville, Mis- 
souri. 

HELD BY THE ENEMY. If you don’t 
know the Civil War is over, play this. 
Nearly everyone else in the picture wore 
whiskers except the hero, and he looked as 
if he had a massage just before rushing into 
the conflict and saving the day. Patronage; 
small town. Attendance; fair. W. E. Trags- 
dorf, Trags Theatre, Neillsville, Wisconsin. 

HELIOTROPE. Very good program pic- 
ture. It pleased my audience. Advertising; 
heralds, one sheet, photos. Patronage ; town. 
Attendance ; fair. Harry C. Waffle, Lyric 
Theatre, McIntosh, South Dakota. 

IS MATRIMONY A FAILURE? Very, 
very rotten; for me, no better than junk. 
Advertising; six, three, ones, slide, photos. 
Patronage; small town. Attendance; very 
poor. R. Marsden, Jr., Noble Theatre, 
Marshfield, Oregon. 

IS MATRIMONY A FAILURE? Fair. 
Not much of a story. Good comedy and 
cast. Not the picture I thought it was. Ad- 
vertising; posters, programs, newspaper, 
window display. Daniel Buss, Star Theatre, 
Tonawanda, New York. 

LAW AND THE WOMAN. A pleasing 

picture, well acted and produced. Adver- 
tising; usual. Patronage; health seekers 
and tourists. Attendance ; fair. Dave Sey- 
mour, Pontiac Theatre Beautiful, Saranac 
Lake, New York. 

LOVE’S BOOMERANG. Very clever lit- 
tle picture. Pleased all who saw it, but 
weather was bad. Mrs. W. E. Arthur, St. 
Denis Theatre, Sapulpa, Oklahoma. 

LOVE SPECIAL. A good picture that is 
sure to please. Advertising; small town ad- 
vertising. Patronage ; all classes. Attend- 
ance; fair. Clarence W. Langacher, New 
Glarus Theatre, New Glarus, Wisconsin. 

MORAN OF LADY LETTY. Everything 
a real picture should have. Good box office 
attraction and one that will please. A real 
melodrama. Book it, advertise it, and make 
some money. Advertising; street banner, 
lobby, newspaper. Patronage; mixed on this 
one. Attendance ; good. C. W. Cupp, Royal 
Theatre, Arkadelphia. Arkansas. 

NORTH OF RIO GRANDE. Good West- 
ern picture. Pleased everyone. Advertis- 
ing; regular. Patronage; mixed. Attend- 
ance; good. F. S. Widenor, Opera House, 
Belvidere, New Jersey. 

TOO MUCH SPEED. Very good Reid 
picture ; went over big in my town. Good 


September 2, 1922 


MOVING PICTURE WORLD 


59 


story and plenty of action. This is the kind 
we want in this bum season. Advertising; 
six sheets, threes, ones, heralds, slide, news- 
paper. Patronage ; small towns. Attend- 
ance ; good. L. E. Silverman, Columbia 
Theatre, Skamokawa, Washington. 

Pathe 

SAGE HEN. Fairly good picture. The 
fellow who took part of Lieutenant was too 
young, too stagey. Advertising, one sheet. 
Patronage, small town. Attendance, fair. 
D. W. Strayer, Monarch Theatre, Mount 
Joy, Pennsylvania. 

Playgoers 

ACROSS THE DIVIDE. This is a good 
clean Western, good enough for any house. 
Did very good business for a two day show- 
ing. But the night scenes are too dark ; 
give us more light. Wm. Thacher, Royal 
Theatre, Salina, Kansas. 

BUTTERFLY GIRL. Must have been 
asleep when they booked us this one. Mar- 
jorie Daw, King Baggott, and Fritzi Bru- 
nette in five reels of misery. No laughs, no 
action, no story — nothing. Patronage, mixed. 
Attendance, regular. Alfred N. Sack, New 
Dreamland Theatre, San Antonio, Texas. 

HILLS OF MISSING MEN. Very good 
Western and will please all. And they don’t 
try to rob you. Thos. L. Haynes, Town 
Hall, Old Lyme, Connecticut. 

TRACKS. Picture ordinary. Did not ap- 
peal. Regular advertising with good lobby. 
Patronage, mixed. Attendance, poor. J. S. 
Wadsworth, Republic Theatre, Great Falls, 
South Carolina. 

Selznick 

AFTER MIDNIGHT. Nothing to it. 
Reels very short. I can do nothing with 
Select pictures, although some of them are 
very good. Advertising, sixes, threes, ones, 
slide. Patronaere, usual. Attendance, poor. 
Stephen G. Brenner, Eagle Theatre, Balti- 
more, Maryland. 

EVIDENCE. A very fine picture, at the 
right price. Had more favorable comments 
on this picture than on some we paid ten 
times as much for. Advertising, newspapers 
and billboards. Patronage, high class. At- 
tendance, good. John A. Schwalin, Rialto 
Theatre, Hamilton, Ohio. 

REPORTED MISSING. Made them laugh 
plenty, and they came in goodly numbers. 
Play this; if properly exploited you’ll do 
well — I did. Advertising, mailing list, her- 
alds, ones and threes. Patronage, health 
seekers and tourists. Attendance, good. 
Dave Seymour, Pontiac Theatre Beautiful, 
Saranac Lake, New York. 

REPORTED MISSING. Very good com- 
edy and drew good houses. Well bolstered 
with short stuff. Advertise as comedy and 
you’ll do good business. Advertising, news- 
paper, lobby, slide. Patronage, city. At- 
tendance, good. L. O. Hoover (viewing as 
spectator while on trip), at Princess Theatre, 
Denver, Colorado. 

United Artists 

LITTLE LORD FAUNTLEROY. Mary 
Pickford playing both parts was wonderful 
and it will suit admirers of Mary Pickford, 
but is more suitable for churches or schools 
than the average audiences ; there is not 
enough action. It isn’t worth a boost in 
price, but you have to at price they ask. 
Thos. L. Haynes, Town Hall, Old Lyme, 
Connecticut. 

THREE MUSKETEERS. Very good. 
Fairbanks’ best yet. Did not draw as well 
as “Way Down East.” Did not make any 


In the Corner 

Down yonder in the corner of this 
page is a report blank. Fill it in — tear 
it out — send it on. MORE REPORTS 
MEAN BETTER BOOKINGS. 


money on it. They ask too much for it. 
Audience was well pleased. Thos. L. Haynes, 
Town Hall, Old Lyme, Connecticut. 

WAY DOWN EAST. One of the finest 
we have had this season to show. Rental 
too high for us and we lost money. At- 
tendance, fair. H. R. Walker, Classic The- 
atre, Dartmouth, Nova Scotia, Canada. 

WHEN THE CLOUDS ROLL BY. Pic- 
ture fine. Star very popular; business good. 
Advertising, regular paper order. Patron- 
age, everybody. Attendance, very good. 
J. S. Wadsworth, Republic Theatre, Great 
Falls, South Carolina. 

Universal 

THE BEAR CAT. A good picture from 
any angle. Advertising, newspaper and post- 
ers. Patronage, family. Attendance, good. 
Arthur G. Pearson, Melrose Auditorium, 
Melrose, Massachusetts. 

CONFLICT. Gcod action picture. Story 
not connected as it should be. Part missing. 
Too big a price for rental. Advertising; 
special. Attendance; fair. W. F. Pease, 
Centennial Theatre, Lowell, Wisconsin. 

FALSE KISSES. A very good program 
picture. Photography very poor in close up 
scenes and in interior of lighthouse. Ad- 
vertising; one sheets. Patronage; small 
town. Attendance; good. D. W. Strayer, 
Monarch Theatre, Mt. Joy, Pennsylvania. 

FOOLISH WIVES. It’s a money getter 
and pleased 100%. Don’t fail to book it. It’s 
great medicine for the box office. Patron- 
age ; small town. Attendance ; extra good. 
G. H. Jfenkinson, Victor Theatre, Minocqua, 
Wisconsin. 

THE FREEZE OUT. Harry Carey in a 
pleasing role and we did fairly good. We 
are well pleased with Harry’s pictures. Ad- 
vertising; newspaper. Patronage; general. 
Attendance; fairly good. Harold S. Clouse, 
Hollywood Theatre, Highwood, Minnesota. 

HEADIN’ WEST. A knockout western 
drama. Hoot Gibson running a close race 


with Tom Mix. Great paper. Advertising; 
sixes, threes, ones, slide. Patronage; usual. 
Attendance; good. Stephen G. Brenner, 
Eagle Theatre, Baltimore, Maryland. 

HER NIGHT OF NIGHTS. Not up to ex- 
pectations on account of title misleading, 
otherwise the picture was good. Advertis- 
ing; slides and posters. Patronage; small 
town. Attendance ; good. D. W. Strayer, 
Monarch Theatre, Mt. Joy, Pennsylvania. 

KISSED. Cracker-jack society comedy. 
This little star is gaining favor fast, and 
this picture knocked them for the count. 
Many situations that had a punch worth 
while. Pleased the folks. We say it did. 
Ned Pedigo, Pollard Theatre, Guthrie, Ok- 
lahoma. 

MAN UNDER COVER. A bum picture; 
no good. Advertising; ones and threes. 
Patronage; regular. Attendance; fair. H. 
S. Miller, Liberty Theatre, Montezuma, 
Georgia. 

OUTSIDE THE LAW. Bucked Chau- 
tauqua in neighboring town and played to 
a fair sized, well pleased audience. Dean 
and Chaney are a good combination. Ad- 
vertising; ones, window cards, photos, 
stickers. Patronage; small town. Attend- 
ance ; good. R. K. Russell, Lyric Theatre, 
Cushing, Iowa. 

STEP ON IT. My first Hoot Gibson and 
one of the best westerns I have had at any 
price. Full of action and comedy. Patron- 
age; small town. Attendance; very good. 
Wm. E. Tragsdorf, Trags Theatre, Neills- 
ville, Wisconsin. 

STEP ON IT. Good as all of Hoot’s, but 
this one didn’t please as much as some of 
his others. Business only fair on a two-day 
showing. Wm. Thatcher, Royal Theatre, 
Salina, Kansas. 

THE TRAP. Only a fair picture which 
did not seem to go over here. It’s better to 
leave it alone. There is, however, some 
very fine character acting, especially on the 
part of Chaney. Patronage; fair. Clarence 
W. Langacher, New Glarus Theatre, New 
Glarus, Wisconsin. 

TRIMMED. A breezy Western comedy 
drama which never lacks for pep and action. 
Measures up to the usual Hoot Gibson pic- 
tures. Hoot sure is well liked. He has a 
pleasing smile. Will more than please a 
real human audience. Patronage ; general. 
Attendance; fair. Harold S. Clouse, Holly- 
wood Theatre, Highwood; Minnesota. 


A Straight from the Shoulder Report 

Exhibitors are booking by these reports. Tell them about pictures that make money 
for you and warn them against the really bad stuff. Be fair to the picture and to your 
fellow exhibitors. LET’S HEAR FROM YOU. 

Title of Picture Producer 

Your Own Report 


How Advertised „ „ . . . 

Type of Patronage Attendance .... 

Good, Fair, Foot 

Theatre City State 

Date 


Signed 


60 


MOVING PICTURE WORLD 


Vitagraph 

PRODIGAL JUDGE A good program 
picture, but no special by any means. Ad- 
vertising; newspapers, photo, etc. Patron- 
age; first class. Attendance; fair. J. Ken- 
rick, Strand Theatre, Ithaca, New York. 

PRODIGAL JUDGE. Put it on as a big 

special and got by pretty good. People liked 
it. Advertising; lobby, slide, newspapers. 
Patronage; high class. Attendance; fine. 
Thomas Clark, Electric Theatre, Maryville, 
Missouri. 

SILENT VOW. A dandy picture, as all of 
Duncan’s are. This pleased 100%. Acting, 
scenery and story good. You can’t go wrong 
on Duncan’s, all good action in them. Pat- 
ronage; middle class. Wm. Thatcher, Royal 
Theatre, Salina, Kansas. 

Comedies 

CARTER DE HAVEN COMEDIES 
(Paramount). “Teasing the Soil,” “Never 
Again,” “Spirits.” Two reels of good clean 
fun, much better than the average. Best 
Paramount comedies we have shown. Pat- 
ronage; rural. L. P. Frisbee, Community 
Theatre, Meredith, New York. 

CIRCUS CLOWNS (Universal). Very 
good. Features Baby Peggy and Brownie. 
Advertising; usual. Patronage; small town. 
Attendance; poor. W. F. Pease, Centennial 
Theatre, Lowell, Wisconsin. 

DOGGONE TORCHY (Educational). A 

comedy that is a comedy. Made them laugh. 
You can’t go wrong on a “Torchy” comedy. 
Advertising; slide and poster. Patronage; 
better class. Attendance ; poor. C. A. 
Anglemire, “Y” Theatre, Nazareth, Penn- 
sylvania. 

CURED BY RADIO (Universal). Few 

laughs in this one. The timeliness of the sub- 
ject matter, however, puts it over. Advertis- 
ing; one sheet, newspaper. Patronage; 
general. Attendance; good. Harold F. 
Wendt, Rivoli Theatre, Defiance, Ohio. 


Tell About It! 

Jack W. Ogilvie, Dixie Theatre, 
Wynona, Oklahoma, says: “I 

think every exhibitor, when he 
gets a bad one or a good one, 
should tell the other boys about 
it. It means a greater and better 
industry.” 

MR. OGILVIE DOES IT. 

DO YOU? 


COPS (First Nat’l). — Here’s a great Buster 
Keaton comedy. The rental is high, but it’s 
worth it if you compare it with other 
comedies. Not good for us, because it didn’t 
get the crowd for certain reasons. Patron- 
age ; mixed. Attendance ; fair. Jack Kaplan, 
Royal Theatre, South Fallsburgh, New York. 

HARD LUCK (Metro). Have run four of 
Metro Buster Keatons and they are all good. 
“Hard Luck” is a knockout. They laughed 
so hard, that it brought them in off the 
street. You ean advertise this one big. 
Patronage; middle class. Attendance; good, 
for two days. Wm Thatcher, Royal Theatre, 
Salina, Kansas. 

LADIES PETS (Educational). All kinds 
of animals used in this one, and it makes one 
of the best comedies that could be asked for. 
Advertising; regular. Attendance; fair. A. 
La Valla, Community Theatre, Bethel, 
Connecticut. 

Short Subjects 

THE GETAWAY (Universal). Started 
out wrong and finished wrong; not complet- 
ed. Wm. Thatcher, Salina, Kansas. 

SELZNICK NEWS NO. 1054 (Selznick). 

This issue is crammed with most interesting 
events and offers plenty of variety. There 
are two or three items which can be fea- 
tured in advertising and figured on drawing 
some business. Advertising; paper, news- 


September 2, 197£ 

papers. Harold Wendt, Opera House, De- 
fiance, Ohio. 

State Rights 

THE HELL HOUND OF THE WEST 
(Western Pictures Exploitation). This is 
an action picture, but nothing else. 
Plot shallow, but thrilling situations 
and good acting pleased the followers of 
this type of play. The title and lobby display 
undoubtedly accounted for the big business. 
An old time Indian play goes well occas- 
ionally. Advertising; one sheets, 11x14s, 
newspapers, electric sign. Patronage; gen- 
eral. Attendance ; good. Harold F. Wendt, 
Rivoli, Defiance, Ohio. 

LONE HAND WILSON (Federated). 

Cuneo good. The company very bad and the 
story suffered from a poor producer. Ad- 
vertising; newspaper and poster. Patron- 
age ; family. Attendance ; good. Arthur G. 
Pearson, Melrose Auditorium, Melrose, 
Massachusetts. 

LOTUS BLOSSOM (James B. Loeng). 

Wonderful spectacular production, in fact, 
the best Chinese picture I ever booked. Had 
good comments on this one. Give me more 
pictures of that calibre, with a modern story. 
Advertising; lobby and six sheets. Patron- 
age; mixed. Attendance; good. R. Covella, 
Cine Mexicali, Mexicali, Mexico. 

TEN NIGHTS IN A BARROOM (Arrow). 

A wonderful production, much better than 
the play or book. I lost money on it on ac- 
count of having the first tent show of the 
season for competition. Advertising; lobby, 
heralds, banners, one sheets. Patronage; 
best. Attendance : poor. R. S. Moore, Gem 
Theatre, Snyder, Oklahoma, 

TEN NIGHTS IN A BARROOM (Arrow). 

This would be a class A for melodramas, if 
a little more care and money had been put 
into production of interior scenes, and a 
few more prominent players had been used. 
Went over O. K. No complaint on attend- 
ance. Chas. H. Ryan, Garfield Theatre, Chi- 
cago, Illinois. 


Consensus of Published Reviews 

Here are extracts from news available at press hour from publications of the Industry boiled down to a sentence. They 
present the views of Moving Picture World (M.P.W.); Exhibitors’ Herald (E.H.); Motion Picture News (N.): Exhibitors’ 

Trade Review (T.R.); Film Dally (F.D.) 

iiuiiii 


Hurricane’s Gal 

(Dorothy Phillips — First National — 

7,944 feet) 

M. P. W. — One of the most picturesque sea 
subjects that has been provided. 

F. D. — One of the few current releases that 
are well worth seeing and anyone who ap- 
preciates a good picture will surely want to 
see “Hurricane’s Gal.” 

T. R. — A picture that is sure to win well 
deserved popularity among the myriad ad- 
mirers of melodramatic “punch” and sizzling 
action. 

N. — It’s a stirring and graphic picture. 

Married People 

(Mabel Ballin — Hodkirison — 5,200 feet) 

M. P. W. — Mabel Ballin’s beauty, person- 
ality and acting are the chief assets. 

F. D. — Splendid production makes story 
more interesting than it would be ordinarily. 

N. — Hugo Ballin has done pretty well by 
this story — a story which might have been 
easily ruined had he not embellished it with 
deft touches here and there. 

T. R. — The play concerns itself with inci- 
dent that is fundamentally undramatic and 
presents its episodes in a loose and disorderly 
fashion. 


The Ladder Jinx 

(Featured Cast — Vitagraph — 5,008 feet) 

M. P. W. — High-class comedy that will 
make ’em laugh heartily. 

T. R. — Guaranteed to charm away the 
blues and keep an audience on the broad 
grin from beginning to end. 

N. — The story is a wild one, somewhat 
drawn out and at times ludicrous, but, 
withal that, it’s entertaining, and inasmuch 
as it has been made for fun purposes only, 
one can overlook the impossible parts. 

E. H. — Quite good entertainment. 

The Worldly Madonna 

(Clara Kimball Young — Equity— 6 reels) 

M. P. W. — Clara Kimball Young has fur- 
nished exhibitors with many box-office pic- 
tures this season, but “The Worldly 
Madonna” represents her best work. 

E. H. — While story is not particularly 
strong, ’nor convincing, the work of Miss 
Young and other members of cast is pleasing. 

N. — The appeal of the picture is problem- 
atical. 

F. D. — Lots of good acting, strong drama, 
contrast and all the other elements that go 
to make an appealing production, but the 
story fails to convince and the star gains 
little sympathy for herself. 


Up in the Air About Mary 

(Louise Lorraine — Associated Exhibitors — 

5 reels) 

M. P. W. — As a whole it will serve as a 
good, light entertainment if too much is not 
expected. 

E. H. — A light and pleasing program enter- 
tainment. 

N. — For those who like to go to the 
“movies” to laugh and not to use their 
brains, this production will do very nicely. 

T. R. — A light and breezy comedy which 
provides fairly good entertainment for sultry 
weather. 

Colleen of the Pines 

(Jane Novak — Film Booking Offices — 
4.7XS feet) 

M. P. W. — However familiar the plot 
material may be, it is produced interestingly 
and there is a twist toward the end that 
gives the story a fresher appearance just 
before the climax. 

F. D. — A good picture, but the same old 
mounted police slogan story. 

N. — In territories where melodrama is 
popular, this picture should meet with favor. 

T. R. — The entertainment values of this 
picture are very much above the average. 


September 2, 1922 


MOVING PICTURE WORLD 


61 


Newest Reviews and Comments 


FRITZ TIDDEN, s Sditor of Reviews 



“Rich Men’s Wives” 

A1 Lichtman Hands Exhibitors Tornado in 
This Great Picture 
Reviewed by Roger Ferri 

A1 Lichtman made certain promises to the 
exhibitors of the country that he would strive 
to give them pictures that would fatten box 
office receipts. And he has wasted no time 
fulfilling that promise for in the first re- 
lease of the A1 Lichtman Corporation, “Rich 
Men’s Wives,” he has a picture that will com- 
pare favorably with the best in the business. 
It’s sure-fire material that he has given the 
theatre owners in this production, which is 
luxurious in settings, and valuable in cast and 
story. Whatever superlative claims you make 
for this feature will be substantiated by the 
picture itself for it has everything, pathos, 
humor, thrills and romance. There are sighs 
and smiles and tears and laughs. It is a pic- 
ture built on what can be rightly advertised 
as “the story of the greatest kiss the world has 
ever known,” a broken-hearted baby’s kiss for 
a wronged mother. And if you can utilize 
your imagaination right here you can get a 
fairly comprehensive idea of what this story 
is all about; it has possibilities and Gasnier 
overlooked nothing. This picture can be 
shown at the “blue blood” houses and the so- 
called small town theatres, and go over like 
a tornado. And this the writer says after 
seeing that picture applauded at the Capitol 
in New York and in the U. S. Theatre in 
Paterson, N. J. This writer saw it twice in 
two nights and it’s that good that one can en- 
joy seeing it a dozen times. It’s worth that 
much. 

As a production it looms up like a million 
dollars, elaborate, pretentious and extensive 
in every way. The story, gripping with heart 
interest that will bring tears to your patrons 
as it did to those who saw it in New York and 
Paterson, is powerful and inspires exploitation. 
The cast is consistent with the bigness of set- 
tings and story, for in “Rich Men’s Wives,” 
Claire Windsor and House Peters do their 
best work. Particularly splendid is Miss Wind- 
sor in the role of the wronged woman; is 
charmingly sympathetic and knows what she is 
doing all the time. Her scene with clever 
little Richard Headrick, as Jackie, where both 
struggle on either side of a window pane, both 
making desperate efforts to kiss the other, is 
the one of the most soul-stirring episodes ever 
incorporated into any picture. Gaston Glass 
is another player who is deserving of mention 
for his meritorious work as the “heavy.” The 
cast as a whole is good and convincingly strong, 
individually and collectively. 

The lighting adds to the superlative enter- 
tainment value of this feature, while the direc- 
tion is flawless and a credit to Gasnier and Ben 
Shulberg, who produced the picture. 

Go after this one tooth and nail. 

The Cast 

John Masters House Peters 

Gay Davenport Claire Windsor 

Mrs. Undley-Blnlr Rosemary Theby 

Juan Camillo , Gaston Glass 

Mrs. Davenport Myrtle Stedman 

Jackie Baby Richard Headrick 

Estelle Davenport Mildred June 

Mr. Davenport Charles Clary 

Maid Carol Holloway 

Nurse Martha Mattox 

Reggie William Austin 

Story and Scenario by Frank Dazey and 
Agnes Christine Johnston 
Directed by Gasnier 
Length, 6,500 feet. 


IN THIS ISSUE 

“In the Days of Buffalo Bill” 
(Universal) 

“Moonshine Valley” (Fox) 

“T he American Toreador” 
(Anchor) 

“The Door That Has No Key” 
(Model) 

“A Girl’s Desire” (Vitagraph) 

“When Husbands Deceive” (Asso- 
ciated Exhibitors) 

“Eustace in Africa” 

“Rich Men's Wives” (A1 Licht- 
man) 

“Insinuation” 

“Bulldog Courage” (Russell) 

“Sage Brush Trail” (Western 
Pictures Exploitation Co.) 

“Jan of the Big Snows” (Amer- 
can Releasing) 

“Easy Pickin’ ” (T. R. Coffin 

Company) 


The Story 

Gay Davenport, child of wealthy, but neg- 
lectful parents, is wooed by John Masters, 
who marries her. They have a child. Jackie. 
Piqued by her husband’s neglect of her Gay 
flirts outrageously but innocently. Juan Cam- 
illo follows her to her cabin, where the two 
are found by Masters, who condemns his wife 
and sends her away from home. Alone and 
virtually penniless. Gay finds work, makes 
vain trips to her home to see her son, who 
is made to believe his mother is dead. Mas- 
ters, still loving his wife, but stubborn, takes 
to drink and neglects Jackie. One night, 
during the height of revelry at the Masters 
home, Gay forces her way to Jackie’s room 
where she finds him ill. During the revelry, 
one of the “butterflies” suggests the election 
of sickly Jackie as Cupid. She mistakes 
Gay for a nurse, rushes downstairs with the 
child, undresses him and is about to place 
him in the basin of a fountain, when the 
motherly instinct in Gay rebels. She rushes 
to her son’s aid, rebukes the guests and her 
husband. The latter is brought to his senses 
ultimately and a happy reconciliation is af- 
fected in a most entertaining and logical 
way. 

Exploitation Angles: If you can’t tear 

things loose with “the greatest kiss” appeal 
you can’t ever make money, but you can 
pull holiday business on a Monday night if 
you even go halfway. Bat it over to the 
limit. 


Complete Guide 

to all 

Current Film Releases 

will appear in 

Next Issue 


“The Sage Brush Trail” 

H. H. Van Loan Prepares a Thrilling Story 
for Western Pictures Exploitation 
Company — Has Splendid Cast 
Reviewed by Mary Kelly 

With the three-fold advantage of fine au- 
thorship, cast and directing, “The Sage Brush 
Trail” has the essentials that make a solid 
box office success. It reaches a standard far 
above what is called an average Western. In 
the successful handling of material that is not 
new, it indicates that the popularity of a picture 
depends not nearly so much upon novelty as 
upon clever workmanship and a convincing 
cast. The action is so interesting that hardly 
once does the spectator stop to remind himself 
that he is watching the development of one 
of the most familiar of plots. 

H. H. Van Loan is responsible for the script 
and the use of his name in exploitation will 
inspire confidence in the picture with the many 
who are aware of his skill. He has moulded 
the scene with fine suspense. The co-opera- 
tion of an unusually strong cast and a faithful 
director makes his efforts doubly secure. 

Roy Stewart and Marjorie Daw play with 
a reserve that is not typical of the usual 
western and will be appreciated by the better 
class of patrons. In the scene where the girl 
plays with the truth to prolong her brother’s 
safety, Miss Daw shows a subtlety that is 
fascinating. Wallace Beery as the Mexican 
braggart has a scene which he does so cleverly 
that one almost forgets to hate him, as the part 
demands. The other important role is played 
by Johnnie Walker, a perfect type for the 
brother. 

There are several scenes that stand out. 
The search in the girl’s home for her brother 
is ingeniously managed and the fight between 
Roy Stewart and Wallace Beery is realistic 
almost to a harrowing degree. The camera 
too, comes in for its share of credit as the 
desert and mountain scenery has been photo- 
graphed with beautiful effects. A decided im- 
provement could be made by shortening the 
subtitles. 

The Cast 

Larry Reid Roy Stewart 

Mary Gray Marjorie Daw 

Neil Johnnie Walker 

Jose Fagaro Wallace Beery 

Story and Scenario hy H. H. Van Loan 
Direction by Robert Thornby 
Length, 4470 feet. 

The Story 

Larry Reid as the Sheriff of Silvertown, has 
established a disarmament law. When he 
finds a gun in the hands of Neil, a stranger, 
right after a continued shooting, he chases 
him out of town, following him as far as 
the home of Mary Grey, the schoolmistress 
with whom Larry is in love. Mary evades 
his questioning but Larry suspects that she 
is sheltering the man. He leaves with the 
threat that he will pursue Neil to the last. 
He brings him back to Mary and learns that 
he is her brother. Meantime Mary has an 
unwelcome visitor in Fagaro the Mexican 
bandit and Larry arrives in time to save her. 
Neil explains that he was framed by Fagaro 
in the beginning and that he had no real part 
in the shooting. Fagaro is arrested and 
Larry believes once more in the pretty 
schoolmistress. 

Program and (Exploitation Catchline: A 

Splendid Cast That Will Entertain You 
Every Minute — A Story With Fine Suspense, 

Exploitation Angles: Play up the cast and 

talk about what players of their standing 
can make of a western drama. Make a drive 
for those who usually avoid this type of 
production. They will like it, too. 


62 


MOVING PICTURE WORLD 


September 2, 1922 


“Insinuation” 

Margery Wilson Production Wholesome in 
Theme and Faithful in Detail 

Reviewed by C. M. Inman 

It is absolutely refreshing to review a 
picture like “Insinuation,” whose real value 
and appeal lies, at the outset, in its natur- 
alness and which does not have to rely upon 
artificialty or luxurious props to aid in the 
telling of the story. In reality, “Insinua- 
tion” is a page taken bodily from the book 
of life itself, in fact several pages, and the 
story they tell is natural, wholesome and ab- 
solutely faithful in detail and delineation. 
The plot of the picture-story is laid amid 
magnificent mountain scenery that is even 
more beautiful when covered with a .mantle 
of snow. 

In her delineation of the stellar role, Miss 
Wilson displays an elusive charm and deli- 
cate loveliness and in the important sup- 
porting roles she has surrounded herself 
with a coterie of players that are ideally 
cast. Percy Holton is among these. He 
is absolutely the type for the weak brother, 
for whom the sister would sacrifice even 
home and happiness themselves. Bradley 
Barker, as leading man, has a part in the 
village doctor who marries the stranded 
player, that gives him ample opportunity 
for the display of some excellent emotional 
acting, and Agnes Nielsen, who portrays 
the village gossip and self-appointed censor 
of the public morals, also is excellently 
cast. For the highly important role of the 
little daughter of the couple, a local child, 
Virginia Rumrill, was chosen. Her part is 
presented in a manner that is not only na- 
tural but absolutely devoid of self-conscious- 
ness. 

It is not too much to say, however, that 
in the last analysis “Insinuation” will be 
classified as among the top-notchers, and 
that the exhibitor who is fortunate enough 
to obtain it for his patrons not alone is 
going to be able to please those patrons, 
but is sure to add to his own reputation as 
a picker of the worth-while. 

Releasing plans have not yet been announced. 
The Cast 

Mary Wright Margery Wilson 

Jimmie Percy Holton 

Dr. Crabtree Bradley Barker 

Prudence Crabtree Agnes Neilsen 

Baby Crabtree Virginia Rumrill 

“Spike” Henderson... A. K. Hall 

Story, Scenario and Direction, 
by Margery Wilson 
The Story 

Mary Wright, specialty artist with a troup 
of barnstormers is made critically ill by the 
news that her brother has robbed the box- 
office. Dr. Crabtree a narrow-minded village 
physician takes care of her and falls in love 
with her. His maiden aunt, Prudence, fears 
that a marriage between the two would prove 
unwise. They marry anyway but Mary is 
unhappy except in the love for her baby girl. 
Dr. Crabtree receives $1000 to keep in cus- 
tody for an old miser, but Mary takes this 
money from the safe to pay for keeping 
her brother out of Jail. Her husband dis- 
covers her guilt and divorces her. Finally 
Mary goes insane. Soon the news of her 
brother’s innocence comes to her and this 
is followed by a reconciliation with her 
husband who brings the sick child to her 
mother. 

Exploitation Angles: Play up the stran- 

ded troupe story unless you have had one 
of this type very recently, and get a ride 
on the interest most playgoers feel in theat- 
ricals. Don’t tell too much of the story, but 
play up the fidelity of the atmosphere. 


Starland Revue No. 10 

The tenth of the Starland Revue series has 
a distinct feminine appeal that exhibitors will 
find will please the male portion of their 
audiences. Principal exponents of this are the 
scenes surrounding the casting of a Broadway 
musical show and the episode in which Phyllis 
Jackson and Josephine Head perform the 
“Three Waltzes” number from Michie Ito’s 
“Pinwheel Revue.” Other interesting scenes 


In bringing interesting and in- 
timate scenes of stage people be- 
fore screen onlookers, Starland 
Revue is making a fine addition 
to the increasingly important 
short subject side of picture en- 
tertainment programs. These 
chatty one - reelers, released 
weekly by F. B. O., will fit in any 
bill.— F. T. 


‘The Door That Has No Key’ 

Evelyn Brent Starred in Modern Picturiza- 

tion of an Interesting Theme — Produced 
by Alliance Film Company 
Reviewed by Mary Kelly 

Cosmo Hamilton’s story on an intimate 
theme has been treated here with a striking 
frankness without any touches whatever of sen- 
sation or vulgarity. There is nothing in it to 
displease the fastidious and much that will be 
of interest to those who find enjoyment in the 
more modern methods of handling an age-old 
theme. 

The conflict, which is of a subtle nature, is 
expressed in two opposing feminine charac- 
terizations — the mother type and the social 
star — a study that is universally interesting and 
promise entertainment for both sexes. This is 
the most important but by no means the only 
angle of interest. With even sequence, each 
incident and situation is constructed to make a 
production that measures up, artistically. 

Evelyn Brent courageously tackles a char- 
acter that cannot possibly be attractive to any- 
one. It is a cold, inhuman part, and she seems 
to have read into the author’s purpose with 
keen understanding. Agnes Southwick is a 
beautiful type for the contrasting role and the 
sincerity of George Relph in the leading mas- 
culine role wins approval. 

The dignified English country places make 
charming exteriors for the action. The in- 
teriors, too, are a point of satisfaction, as they 
have beauty without tawdry display. 

The Cast 

Jack Scorvier George Relph 

Claude Scorvier A. Harding Steerman 

Joan Agnes Southwick 

Violet, Jack’s Bride Evelyn Brent 

Pat Marlow Richard Garrick 

“Tittle Clive” Gordon Craig 

Vicor J. H. Newman 

Verne Waveney Miriam Cathcait 

Adapted from the novel by the same name 
by Cosmo Hamilton. 

Scenario by Adrian Johnson. 

Directed by Frank Crane. 

Length. 4,853 Feet. 

The Story 

The story deals with the marital misunder- 
standings of a young lawyer and his ultra 
modern wife. The wife aspires to social ad- 
vancement and cannot afford to take the 
time to fulfill what her husband thinks is her 
part of the marriage contract. She plainly 
tells him that she cannot find time to give 
him children, as her social duties would suf- 
fer. He strives in every way to find the key 
to her better womanhood, but in vain, for it 
is a door that has no key. 

Surrounded by false friends, a wife who is 
false to her duty and by a hard world, he 
struggles upward to fame, thinking to fill 
his empty heart with the hollow plaudits of 
the crowd. At last in the love of a simple 
daughter of a country minister he finds the 
ideal womanly perfection, and is united to 
her by marriage after the first wife in her 
folly casts him off. 


are shots at the recent Lights Club Circus ; 
back stage bits with Eddie Cantor, showing him 
making up for his various characters in his 
latest show ; parts of musical numbers from the 
all-negro show, “Strut Miss Lizzie,” and an 
amusing little bit enacted by William Kent, of 
“Good Morning Dearie,” and his wife, depict-, 
ing the troubles of a married man locked out 
of his home. (Released by F. B. O.) — F. T. 


“In the Days of Buffalo Bill” 

Universal’* New Historical Serial Has Wide 
Appeal and Strong Interest 

Reviewed by Fritz Tidden 

“In the Days of Buffalo Bill,” the most re- 
cent of the chapter plays to be distributed by 
Universal, promises, from a view of the first 
five episodes, to be a serial that not only will 
be a tremendous success in theatres where 
serials are the custom but will also meet with 
approval in houses that do not make a practice 
of showing the continued-in-our-next form of 
entertainment. It is a decidedly worth while 
achievement and at the same time is engross- 
ingly interesting. It is entertainment with a 
purpose and Universal may justifiably be proud 
of releasing it and an exhibitor in showing it 
is giving his clientele amusement that has a 
vivid background of educational value. 

A story that has all the elements of popular 
appeal, what with love interest, excitement, 
suspense and drama, is closely linked with his- 
torical interest. The latter feature is so 
prominent that it should be but a simple matter 
for an exhibitor to obtain the co-operation of 
local educators in exploiting the serial, which 
is in eighteen episodes of two reels each. The 
historical angle is so definite that the entertain- 
ment value is increased a hundred fold and will 
more than assist in building up and retaining the 
interest of the spectator to the end that it will 
keep him attending throughout the eighteen 
chapters. 

The tale is woven around the construction of 
the original iron trail that connected the East 
with the West — the Union Pacific Railroad — 
in the time during and just after the Civil War. 
Over one hundred and fifty characters from his- 
tory are said to be included in the progress of 
the story, and this may be substantiated by the 
fact that the initial episodes include more such 
noted figures than can be enumerated here. 
The principal of these is, of course, William 
F. Cody, later known as “Buffalo Bill,” who 
was at that time a noted scout and agent of the 
celebrated Pony Express. Lincoln, his famous 
cabinet, war generals and famous plainsmen 
heroes are some of the others that are faith- 
fully depicted and furnish a thrill of interest. 
These characters are not dragged in merely for 
their historical value but are logically worked 
into the story or are prime figures in the 
movement of the plot. The scenes are his- 
torically correct, and for this, among other 
things, including well staged action, Edward 
Laemmle, the director, is to be heartily com- 
mended. 

Art Accord plays the role of Buffalo Bill’s 
intrepid companion and gives a fast riding, 
courageous and capably acted performance. 
Duke R. Lee gives a graphic picture of Cody 
in his younger days. The feminine appeal lies 
in the hands of Dorothy Woods, who fulfills 
all requirements. The historical character are 
played by excellent types. 

“In the Days of Buffalo Bill” has tremend- 
ous drawing powers, and when they are in the 
theatre each episode will entertain and portray 
a page from the history of our country during 
one of its most romantic periods. 

Scenario by Robert Dillon 
Directed by Edward Laemmle 


“A Pair of Aces” 

Jane and Katherine Lee provide excellent 
entertainment in this comedy, released by Fox. 
It is a sparkling number, featuring the two 
children to good advantage and lending a spon- 
taneity to their actions that makes the effect 
doubly pleasing. While they possess unusual 
talent, nothing beyond their years has been re- 
quired of them and the director has handled 
them so as to bring out what appears to be a 
perfectly natural mischievousness. The poor- 
house nightmare in the second reel is a grand 
and glorious comedy in itself. “A Pair of 
Aces” is a composite of several previous re- 
leases so that it is practically a new produc- 
tion with the advantage of including only the 
best features of the earlier pictures. — M. K. 


September 2, 1922 


MOVING PICTURE WORLD 


63 


“The American Toreador” 

Anchor’s Comedy Drama Is Breezy and 
Entertaining 

Reviewed by Roger Ferri 

Bill Patton may have his own aspirations, 
but from the viewpoint of this reviewer he 
would find it to his advantage to continue de- 
picting just such a snappy, breezy, Cohanesque 
role as he enacts in “The American Toreador.” 
This is a picture out of the ordinary, for it has 
a story that is different with enough action to 
satisfy those who crave excitement, drama to 
meet the requirements of the more serious- 
minded element, and comedy that furnishes 
fifty laughs to the reel. 

Anchor Film Distributing Corporation need 
have no fear of its future if it continues giving 
the State rights market pictures like “The 
American Toreador.” Every role is well 
handled, but it is the ease and the natural work 
of Patton that holds one’s attention. Here is a 
, production that should be exploited to the limit, 
for it’s the brand that bids fair to be popular 
this coming season. The background is laid in 
that romantic land of Spain, with types that are 
ideal, a bull fight that is a whirlwind, a half 
dozen fights that pull you out of your seat and 
a brand of romance that has never been known 
to fail with an American audience. 

Two promising players, in addition to Bill 
Patton, are introduced in “The American 
Toreador,” which is excellently directed, and 
these are Virginia Warwick, as beautiful a 
brunette as there is on the screen today and 
particularly suitable to the Spanish senorita role 
that she so aptly portrays, and Sam Turner, a 
colored gentleman, who is an Exalted Ruler of 
the Merry Order of Laugh-makers. Sam 
Turner should be an excellent subject for two- 
reel comedies, for he has a style of comedy that 
looks like sure-fire. Miss Warwick, who first 
attracted attention in “The Four Horsemen,” 
never did better work. She is splendid in “The 
American Toreador.” The rest of the cast is 
equally good. The lighting is satisfactory. 

You can’t fail with this one, Mr. Exhibitor, 
it’s sure-fire hoakum, full of action, with 
enough drama and comedy to satisfy any kind 
of audience. 

The Cast 

The Girl Virginia Warwick 

The American Toreador Bill Patton 

Mose Sam Turner 

The Champion Toreador Charles Guyton 

Story and Scenario Not Credited. 

Directed by Walter De Conroy. 

Length, Five Reels. 

The Story 

Bill, a hUBky Western cowboy, determines 
to visit the land of romance and bull throw- 
ing and vamping senoritas — Spain. Bill finds 
the wild and woolly West tame in comparison 
with the Spanish everyday life, but he finds 
no hardship in acclimating himself. He runs 
into Mose, a high brown from the home of 
prohibition, who was a member of his regi- 
ment during the recent war. Mose elects 
himself Bill’s valet, more for protection than 
anything else. So Bill finds himself given 
every attention, but unconsciously assuming 
the role of bouncer for this darkie. Bill 
falls in love with a senorita who spends most 
of her time trying to persuade a greaser, 
who admits he’s the champion bull thrower 
of 'Spain, that the place for bull throwing 
is inside the ring. But then bull throwers 
are bull throwers, and Bill has the time of 
his life trying to propose to the senorita, 
for whom he falls hook, line, sinker and all. 
But toreadors are not to be cast off, and in 
time Bill finds himself fighting the greaser. 
Of course, he wins. But the climax is staged 
at the arena, where the supposed champion 
is pinned to the ground by a rushing bull. 
Bill rushes into the affray and shows the 
greaseball how cows, bulls, and such are 
tossed in America — and he does it and saves 
the champion himself. That’s the beginning 
of the end for the champion, who is licked at 
a duel, kicked around like Jim Casey’s dog, 
and otherwise made to understand that his 
business is bulling the bull. 

Exploitation Angles: Play this up for the 

novelty angle for what you can make out of 
it. You can make this go over like big 
money if you work it hard enough. 


Big game hunting in Africa is 
reproduced with many thrills and 
with splendid picturesqueness in 
the film which Col. Eustace is now 
exhibiting in America. “Eustace 
in Africa” depicts in five reels the 
beauty and dangers of living in 
the heart of these wild regions. 
Where first shown it proved 
beyond all doubt its power to hold 
the interest. — M. K. 


“Bulldog Courage” 

Tense and Dramatic Action in Picture Made 
by Russell Productions 
Reviewed by C. M. Inman 

To those who are fond of action and the 
great outdoors, the rolling fields, the rugged 
mountains, galloping horses, fighting, and with 
a love story intermingled that proves anew 
the old adage that the course of true love 
never runs smooth, “Bulldog Courage” will in- 
terest and entertain and, cause some thrills. 
The thrills are there, all right, and at times 
the action in tense and very dramatic. 

“Bulldog Courage” pictures the advent of a 
young Easterner into the cowboy country of 
Wyoming and shows how he made good, inci- 
dentally winning a reward of $50,000 and a 
bride, and ridding the country of a band of 
“rustlers” when he himself was under sus- 
pecion of being a member of the band. 

“Bulldog Courage” is well cast, with Bessie 
Love and George Larkin in the leading roles, 
and it affords opportunity for the display of 
some excellent horsemanship and the attain- 
ment of some dramatic values that in both in- 
stances are well done. High-class photography 
adds to the picturization and, as a whole, the 
picture is one that will appeal strongly to the 
average audience. 

The Cast 

Gloria Phillips Bessie Love 

Jimmy Brent George Larkin 

John Morton Albert MeQnarrie 

Smokey Evans Karl Silvern 

Big Bob Phillips Frank Whitman 

Sheriff Webber Bill Patton 

Mary Allen Babara Tennant 

Story by Jeann Poe. 

Directed by Edward Cull. 

Photographed by Harry Mueman. 

Length 490© feet. 

The Story 

Jimmy Brent, college athlete and ward of 
his uncle, John Morton, is sent West by his 
uncle to seek out a former rival for the hand 
of Mary Allen, Bob Phillips by name, who is 
a ranch owner in Wyoming. Having nursed 
resentment for years, Morton offers young 
Brent $50,000 if he will find Phillips and 
“beat him up.’’ Brent finally reached his 
destination and falls in love with Phillips’ 
daughter, Gloria. One of the Phillips’ cow- 
boys Smokey Evans, also in love with Gloria, 
as well as being a secret member of a band 
of “rustlers.” He hands Phillips a note, pur- 
porting to show that Brent is a “rustler” 
and Brent is sent away in disgrace and un- 
der suspicion. Later Brent meets and bests 
Phillips in a rough and tumble fight. Brent 
finds the hang-out of the “rustlers” and 
after much fighting they are turned over to 
the sheriff. In the meantime Smokey Evans 
attempts to kidnap Gloria, but Brent ar- 
rives back at the ranch in time to trail them 
and to capture Evans after a thrilling fight 
among the cliffs. Big Bob Phillips learns 
of Brent’s quest and the fact that he has 
won his uncle’s $50,000, and the story ends 
with Gloria and Jimmy for matrimony in 
a gallop. 

Exploitation, Angles: Play up Bessie Love 

for your best bet and hang the story on the 
$50,000 offer. Also give some space to 
George Larkin in your advertising. 



S UMMER days are dancing 
days, and the best of all danc- 
ing pictures is 
“FRENCH 
HEELS,” in 
which IRENE 
CAS'TL E 
comes back to 
the screen with 
the most fas- 
cinating- array 
of new gowns and novel steps 
everdthrown on the silver-sheet, 

"The kind of picture," says Film 
Daily, "that your women patrons will 
‘eat up.’ 

Give your audiences a summer pro- 
gram of light, cheerful entertainment. 
It’s too hot to get worked up over 
heavy, sensational-pictures. 

_ "FRENCH HEELS ” takes us from 
Fifth Avenue to a lumber camp in the 
North Woods. The lake shots alone 
will bring a breath of the cool out-of- 
doors into your house, and IRENE 
CASTLE’S danc- 
ing will reflect 
what is in the 
minds of nine 
tenths of your au- 
dience. 

"Her admirers,” 
says the Motion 
Picture News, "will 
find plenty over 
which to enthuse. 

Says the New 
York Evening Journal: "Even without 
Mrs. Castle, ‘FRENCH HEELS’ 
would prove an interesting offering." 

In other words, in "FRENCH 
HEELS," the Exhibitor has star 
value PLUS! If you haven’t played 
it, Book it this Summer, while its 
appeal is greatest. 




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64 


MOVING PICTURE WORLD 


September 2, 1922 


“Easy Pickin’ ” 

First of Crescent Comedies Has Unusually 
Good Plot 

Reviewed by Fritz Tidden 

The first of a series of two reel comedies 
produced by the T. R. Coffin Company, under 
the brand name of Crescent Comedies, gives 
high promise of some excellent material at the 
disposal of exhibitors who wish to augment 
the entertainment value of their programs with 
short, snappy stuff. “Easy Pickin’,” the initial 
release of the series of six, functions as a 
comedy should, in that it makes you laugh, 
sometimes in chuckles and often deeper. 

Basing judgment upon “Easy Pickin’,” the 
Crescent comedies are clean, wholesome and 
different. But they are not too different to be 
immediately accepted as typical farce comedy 
material, as they strike a popular note in that 
form of screen entertainment. Their chief 
difference lies in the fact that they have far 
more story value than the usual run of farces 
and the gags are a part of the plot and not 
just glued on with no relation to what pre- 
ceeded or that which is to follow. “Easy 
Pickin’ ” has been dressed up in feature fashion 
with lavish sets and unusually beautiful ex- 
teriors, and the cast includes some well known 
names. 

Bruce Mitchell, the director of the series, 
deserves great credit for the excellence of the 
first issue, and probably for the others. He 
has been given an idea to work with and he 
handles it intelligently and like a showman. 

“Easy Pickin’ ” is a laugh maker of the 
low comedy type, but with an idea behind it. 

Incidentally, one of the principal roles in the 
comedy is played by a comedian that has never 
appeared on a screen earnestly watched by this 
reviewer. The actor’s family name is Karr, 
with “Fat” as a first name, which is a complete 
characterization. But Karr can act, has the 
valuable combination of a winning personality 
and a low comedy appearance, and seems to 
be a good trouper. He is well worth featuring 
in a series of farces of the type formerly 
made famous by Fatty Arbuckle. 

Film Folk 
Producers, Distributors, 
Exhibitors 

in the confusion incident to erecting 
and equipping 

The Eastman Theatre 

Rochester, New York 

it has been physically impossible to 
reach all with invitations to the pro- 
fessional opening, 

Saturday, September 2 

an afternoon of inspection with in- 
formal dress rehearsal in the evening. 

“Take the will for the deed.” 

If you can be with us on this occasion 
it will be a pleasure to forward cards 
of admission upon request. 

Address Charles H. Goulding, Manager 
The Eastman Theatre will open for 
the public 

Monday, September 4 

■ - -- 


A1 Lichtman franchise holders 
have every reason for congratu- 
lating themselves, for if the initial 
product of Preferred Pictures, 
Inc., Ben Schulberg’s “Rich Men’s 
Wives,” is any criterion, ex- 
changes and exhibitors handling 
Lichtman pictures are in for a 
clean-up. 

A1 Lichtman has scored a bull’s 
eye with the first release and no 
exhibitor need be timid over this 
one, for it’s a tornado from any 
angle, everything to play with, a 
splendid cast headed by Claire 
Windsor and House Peters who 
appear at their best, luxuriously 
elaborate settings and a story re- 
plete with pathos, humor and 
thrills. Grab this mint. — R. F. 


“Eustace in Africa” 

Picture Presenting Travels of Colonel and 
Mrs. Eustace Is Rich Subject — 
Superb Animals and Scenery 

Reviewed by Mary Kelly 

Twenty-seven years in the heart of Africa 
has given Colonel Eustace an almost unmatch- 
able knowledge of the best that the country 
offers in scenery and game-hunting. Conse- 
quently this descriptive film which he has made 
represents more than a cursory tramp through 
the wild region. It reveals an interest in the 
subject-maatter that because of its very inten- 
sity will create enthusiasm anywhere, and, an 
understanding of what will appeal to the un- 
informed that makes the picture unusually 
valuable. 

If for no other feature than the scenes of 
the Victoria Falls, the film is well worthy of 
appreciation. These are magnificent shots, 
beautifully photographed. But the cast of the 
picture is the important thing and the lions, 
antelopes, pithons, zebras, rhinoceres, elephants 
and hippopottomae who are seen in prominent 
roles are wonderful specimens. The star of the 
picture is easily one of the lions, a superb, rare 
creature of the maneless species who displays 
the greatest interest in his unseen photographer. 
Col. Eustace has made a special effort to get 
unfamiliar specimens, as for example, the white 
rhinoceros. 

While by far the greatest attention has been 
given to the animals, there are a few glimpses 
of the natives that will be generally interest- 
ing. Col. Eustace was accompanied by his 
wife on all the expeditions and personal ac- 
quaintance with her suggests the question as to 
why the Colonel did not insert a few close-ups 
of her. She is shown at a rather unsatisfactory 
distance taking part in some of the most 
thrilling hunting scenes. 

It can be definitely stated that “Eustace in 
Africa” will be much enjoyed by the average 
audience. When first shown in New York it 
brought an unusually fine class of patrons to a 
theatre in one of the older commercial sections, 
and the showing was followed by long applause. 

Releasing plans for the feature have not yet 
been made. The length is 5,500 feet. 


“The Alphabetical Zoo” 

This Urban picture takes one on a trip 
through a zoo where the spectator is given 
views of the different animals in alphabetical 
order, with a stanza of jingles accompanying 
each. For instance, first is shown the alpaca, 
and the accompanying verse runs : “A — for 

alpaca, near bursting with pride, because of the 
soft, flossy hair on his hide.” 

The bison comes next, and so on down to the 
last on the list, the zebra. — T. S. daP. 


“A Girl’s Desire” 

Alice Calhoun Proves a Versatile Actress 
in Vitagraph Picture with 
Wholesome Theme 
Reviewed by C. M. Inman 

Alice Calhoun, the Vitagraph star, in "A 
Girl’s Desire” once again makes truly evident 
the admitted fact that she is an actress whose 
talents are not circumscribed by any particular 
type of role or acting, and that whether in 
comedy or in emotional acting she is equally 
efficient. 

In this, the latest vehicle for her versatile 
talents, and surrounded by an all-star cast in 
which practically every important role brings 
to the fore some name famous on the “legit- 
imate” stage, she has a whimsical role of the 
type in which she excels. 

“A Girl’s Desire” is a production in a light 
and frivolous vein that makes strong appeal to 
the average audience and is rife with complica- 
tions that make for laughter and forgetfulness 
and afford the “tired business man” an oppor- 
tunity to relax. And yet, withal, there are a 
number of exciting moments during which 
thrilling and dramatic scenes enliven the comedy 
flashes and add vastly to the zest of the enter- 
taining story as depicted. 

The photography throughout is clear cut and 
in many instances the picturization is far above 
the average. In fact, as a whole, there is an 
appeal to this picture that will make it of more 
than ordinary value as an attraction that may 
be relied upon to please the larger part of any 
audience. It is wholesome throughout, just 
frivolous enough to keep the audience in con- 
stant good humor, and with sufficient satire re- 
garding the nouveau riche to please the ordi- 
nary citizen. 

The cast chosen to support Miss Calhoun is 
truly representative and includes such well- 
known players as Lillian Lawrence, mother of 
Ethel Grey Terry, Warner Baxter, Victory 
Bateman, James Donnelly and Lydia Yeamans 
Titus. While these may be said to head the 
list, the others in the supporting cast are all 
that could be desired to make the ensemble a 
noteworthy one. 

The Cast 

Elizabeth Browne Alice Calhoun 

“Jones” (Lord Dysart) Warner Baxter 

“Lord” Cecil Dysart Frank Crane 

I.ady Dysart Lillian Lawrence 

Mrs. Brovrne A'ictory Bateman 

H. Jerome Browne James Donnelly 

Miss Grugges Sadie Gordon 

Perkins Charles Dudley 

Cook Lydia Yeamans Titus 

Solicitor Harry Pringle 

Story and Scenario by C. Graham Baker. 

Directed by David Devar. 

Length, 4,5)50 Feet. 

The Story 

Elizabeth Browne, daughter of H. Jerome 
Browne, who has been brought up as “Lizzie” 
until her father struck oil and became enor- 
mously wealthy, is sent to a finishing school, 
while her mother, with an ambition to break 
into high society, goes with her father to 
England in search of a family tree and a coat 
of arms. In the meantime the girls at the 
school refuse to admit her into their secret 
organization, membership in which necessi- 
tates the possession of a family crest. 

While Elizabeth is undergoing this ostra- 
cism, Papa Browne and his wife have suc- 
ceeded in obtaining an ancestral tree and a 
family portrait gallery belonging to the late 
Lord Dysart. The present Lady Dysart, an 
adventuress who had married Lord Dysart 
just prior to his death, has a son by a for- 
mer marriage and seeks to have him wed 
Elizabeth. The appearance of the real Lord 
Dysart upon the scene, after advice from his 
late father’s solicitors regarding the plot un- 
derway, and his success in becoming the 
secretary to old “Hank” Brown, initiate the 
complications that give play for the dramatic 
moments that follow, and the final expose of 
the conniving mother and son, with the su- 
sequent marriage of Elizabeth and the real 
Lord Dysart. 

Exploitation Angles: After the star, use 

the title for a hook-up page or windows 
showing articles which might be a girl s de- 
sire. This offers an admirable tie-up. 


September 2, 1922 


MOVING PICTURE WORLD 


65 


“When Husbands Deceive’’ 

Intense Drama Marks Leah Baird Produc- 
tion — Associated Exhibitors Release 
Reviewed by Fritz Tidden 

In her most recent production, Leah Baird 
chose to be practically the whole works, add- 
ing a little oil and fuel for good measure. 
The result proves unequivocally that her choice 
was wise. She is largely instrumental in turn- 
ing out a very good picture of the tensely 
dramatic- type. Miss Baird wrote the. story, 
made the scenario, arranged the continuity and 
then played the leading role. And she has done 
everything expertly, also with an eye towards 
th? showmanship angle. The story strikes a 
popular note and it has been pictorially ex- 
pressed to good advantage. 

Wallace Worsley, the director, was about the 
only other person concerned with the produc- 
tion except the cameraman and the film editor. 
He accomplished his part of the finished 
product with his customary skill. The camera- 
man and editor also deserve praise for their 
share of the entertainment value. 

The chief appeal of the picture will be found 
to lie in its intensely dramatic story, it being 
told in such a way that the drama is enhanced. 
But there are also many other points of appeal, 
chief among them being the lavish production, 
which is all in good taste, and the acting of 
the cast. Miss Baird gives a sincere and able 
performance of a difficult role and she is sup- 
ported by players who contribute greatly to 
the numerous dramatic moments. Special men- 
tion should be made of William Conklin’s 
delineation of one of the rottenest, meanest 
villains that has been encountered in some time. 
Teddy, the dog, and Darwin, the monkey, should 
not be neglected in the credits. Both of them 
figure prominently in the exposition of the plot. 

“When Husbands Deceive” is a perfectly 
safe bet when strong drama is desired. 

The Cast 

Viola Baxter Leah Baird 

Marshall Walsh William Conklin 

Richard Fletcher Jaek Mower 

Madge Eller Eulalie Jensen 

Lulu Singleton Katherine Lewis 

Andrew Tarleton John Cossar 

Teddy Teddy 

Story and Scenario by Leah Baird. 

Direction by Wallace Worsley. 
Photography by Charles J. Stumar. 

Length, 5,608 Feet. 

The Story 

Marshall Walsh, guardian of Viola Baxter, 
dupes her into believing her fiance, Richard 
Fletcher, a thief. Her trust in Fletcher gone, 
she marries Walsh, innocently falling into 
his trap to secure her fortune. Her married 
life is a series of discoveries of her husband’s 
treachery. Then Fletcher learns how he 
was framed, and wrings a confession from 
Walsh’s woman accomplice. He goes to Viola 
with the news. 

Walsh discovers the two in Viola’s boudoir 
and attempts to prove his wife’s infidelity. 
But Viola turns accuser and proves his dis- 
honesty. Later, alone with his wife, he fiend- 
ishly plans tc commit suicide, and take her 
with him to Eternity. Her cries for help are 
answered by her dog, who breaks his leash 
and leaps to defend her from the murderous 
intent of her husband. Eventually Viola and 
Fletcher find their happiness. 


“His Own Law” 

Pathe has another new series of two-reelers. 
It is known as the Range Rider Series and 
Leo Maloney is the star. The initial offering, 
His Own Law,” should prove a welcome ad- 
dition to theatre programs and promises well 
for the success of the series. While follow- 
ing somewhat conventional lines there is no 
waste footage. There is something doing 
every minute, with as much pep and action 
as is found in a good many five-reel features. 

The star is congenially cast and looks the 
part of the character he portrays, measuring 
up to the requirements for a convincing fighter 
and horseman. He is seen as a Texas Ranger 
who resigns his commission to help his sweet- 
heart s brother who is mixed up in a dope 
smuggling affair. Circumstances cause him to 
be suspected of having killed the boy, but 


Universal’s new serial “In the 
Days of Buffalo Bill” is great 
stuff. So fine in fact that it might 
be said exhibitors are neglecting 
a duty to their patrons if they do 
not show it. 

Carl Laemmle states that it is a 
serial achievement. It is no vain 
boast. And Mr. Laemmle is to be 
complimented for placing it at the 
disposal of the screens of the 
country. 

“In the Days of Buffalo Bill” is 
such an interesting amalgamation 
of real entertainment and de- 
sirable education that its success 
is assured before audiences com- 
posed of both young and old. 
— F. T. 


“Jan of the Big Snows” 

Curwood Story Well Produced — Distributed 
by American Releasing 
Reviewed by J. M. Shellman 

The moral tone of James Oliver Curwood’s 
story “Jan of the Big Snows” is fine and Cur- 
wood has worked it out with skill and lucidity, 
but, when you dissect it to it’s fundamental 
points, you find it resembles strongly the eter- 
nal triangle with a true wife, a villain who 
covets her and an honorable hero. The locale 
of the story is in the Hudson Bay Country and 
instead of the Northwest Mounted Police to 
furnish the law and order element, there is a 
code of honor called “The honor of the big 
snows,” to keep the peace. 

There is a surprise ending that is different 
from the usual run in that the final clinch is 
omitted and the hero does not marry the hero- 
ine. This may be considered by some an un- 
happy ending. The photography is well 
handled ; the locations picturesque ; the interi- 
ors natural ; the night effects excellent ; the 
sub-titles beautifully phrased and written and 
the art title work handled with care. 

Warner Richmond’s acting is fresh and de- 
lightful. He is one of the real leading men on 
the screen to-day who backs up his pleasing 
appearance with histrionic ability. His work 
in “Tol’able David” stamped him as a fine 
actor. Louise Prussing handled her part in 
a natural way. Richard R. Neill overacted his 
part. The other members of the cast were 
all good. 

The Cast 

Jan Allaire Warner Richmond 

Nancy Cummings Louise Prussing 

Frederick Cummings William Pearcy 

Freddie Baby Eastman Haywood 

Mukee Frank Robbins 

Blanding Richard R. Neill 

Adapted From the Novel of the Same Name 
by James Oliver Curwood 
Scenario not credited. 

Directed by Charles M. Seay 
Length, 4549 feet. 

The Story 

All the action takes place at an isolated 
trading post where Fred Cummings returns 
with his bride. The entire population con- 
sists of seventeen men, including Jan, who 
has never had a love affair in his entire life 
till he meets Cummings’ wife. The ‘‘honor 
of the big snows” demands protection for 
the weak — a man must suffer, starve or die 
before he will take what belongs to another 
man. 

Blanding a New Yorker, arrives at the post, 
and his attentions forced upon Nancy cause 
Jan and his comrades to teach him to ob- 
serve the “honor of the big snows.” 

Program and Exploitation Catchline: A 

dramatic James Oliver Curwood story of the 
Hudson Bay Country with a surprise ending. 


everything ends _ happily and the culprits are 
brought to justice. Leo Maloney is assisted 
by a satisfactory cast including Leonard Clap- 
ham and Chet Ryan, — C. S. S. 


“Moonshine Valley” 

Fox Presents William Farnum at His Best 
in a Sympathetic Performance 

Reviewed by Mary Kelly 

William Farnum’s recent appearances in con- 
ventional roles only serve to make his return to 
the out-door picture a more striking success 
than ever. “Moonshine Valley” is Farnum as 
he is best known and admired. He is afforded 
almost unlimited chances of acting, and the re- 
sult is a performance of unusual strength. This 
is a feature of importance to the many who 
have enjoyed his most representative work in 
the past, and it is significant in planning ex- 
ploitation. 

“Moonshine Valley” makes use of situations 
and characters that have proven beyond all 
doubt, their entertainment value. Particularly 
is this true of the factors that contribute to the 
heart interest. The stranger who desecrates the 
hospitality of those who took care of him in 
sickness, by double crossing his host arid steal- 
ing his wife; the wife who mistakes infatua- 
tion for love ; the husband who becomes mad 
with drunkenness ; and the crowning touch in 
the redeeming influence of the tiny child. 
There. is something generally familiar about the 
material. But Herbert Brenon, the director, 
has handled it so as to bring out the most effec- 
tive situations and with fullest appreciation of 
the human interest motive. 

Dawn O’Day, the three-year-old child, can be 
counted on to win everyone in the audience. It 
is the old sentimental appeal of “a little child 
shall lead them” that has been designed to put 
over her part, but the impression prevails that 
Dawn O’Day is adorable enough personally to 
make any kind of a part successful. Another 
attractive member of the cast is Sadie Mullen, 
who plays opposite the star. 

“Moonshine Valley” is not what its title sug- 
gests. There is no hint at the prohibited traffic 
unless it might be derived from one short 
drunken scene, included to show the change that 
has been brought about in the character of the 
hero. 

The Cast 

Ned Connors William Farnum 

His Wife Sadie Mullen 

Or. Martin Holmes Herbert 

Aancy, a Child Dawn O’Day 

Jeane, the I)og “Jean Bronte” 

Story by Mary Murillo. 

Scenario by Mary Murillo and Herbert 
Brenon. 

Directed by Herbert Brenon. 

Length, 5,649 Feet. 

The Story 

Ned Connors is a hard-working gold pros- 
pector with bad luck. His wife, believing 
him killed, elopes with a doctor. Farnum 
becomes a “bad man” and a drunkard. After 
four years his wife returns to the section 
where she formerly lived with her present 
husband and their little daughter. 

The .man with whom she had eloped sees 
her husband and quickly leaves town. Their 
child is lost. Farnum finds her and she 
works his reformation. Later he finds his 
wife’s illegal husband and in a thrilling fight 
kills him. His wife’s Penitence softens him 
and they are reunited. 

Program and Exploitation Catchline: 

William Farnum In .a Role That Will 
Thrill and Move His Many Admirers — 
A Man Who Is Deserted by His Wife, 
But Saved From Ruining His Own Soul 
by His Wife’s Child. 

Exploitation Angles: Make Farnum, hack 

to the blue shirt roles, the chief appeal of 
your campaign, particularly if you have had 
him in some of the dress clothes plays lately. 


“Fearless Fido” 

This is an average number of the Paul Terry 
cartoon comedies distributed by Pathe. It 
tells of the experiences of a smart little dog 
that after several vicissitudes with ducks and 
bears finally invades the big bear’s cave and 
drags him out by the tail marching all the little 
bears before him. There is the usual clever 
animation and several humorous touches. — 
C. S. S. 


66 


MOVING PICTURE 


WORLD 


September 2, 1922 


PRO J E CTION 

$2) F.H. RICHARDSON 





Biggest Question 

(Continued from August 19 Issue.) 

The question, propounded by a San Francisco 
projectionist is : 

IF YOU WERE CALLED UPON TO DE- 
SIGN AND EQUIP A 2-PROJECTOR 
PROJECTION ROOM IN A HIGH CLASS 
MOTION PICTURE THEATRE, AND TO 
ADVISE AS TO THE LOCATION AND 
CONSTRUCTION OF SAME, AND TO 
ADVISE AS TO THE SELECTION OF A 
SCREEN, WHAT WOULD YOU DO 
WITH REGARD TO EVERY ONE OF 
THE ITEMS CONCERNED AND WHY 
WOULD YOU DO IT? 

We now come to a much more serious ob- 
jection to the long projection distance, no 
feasible method of avoiding which has as yet 
been devised. 

In figure 4 we see the projector optical sys- 
tem with the face of the converging condenser 
lens sixteen inches from the aperture — which 
is not far from the average condition where 
high amperage is used. The diagram is drawn 
to scale. The broken lines indicate what gov- 
erns the diameter and shape of the beam after 
it passes through the aperture. Line A indi- 
cates a 2-inch diameter lens, which just covers 
the beam at about 3)4 inches working distance. 
Line B indicates a 2-inch diameter at six 
inches working distance — about the minimum 
working distance found where the projection 
distance is long. 

You will observe that whereas the lens covers 
the entire beam at A, it does not nearly cover 
it at B, and there is loss of light. Under the 
condition shown a lens of 2)4 inch free diam- 
eter would not cover the beam and admit all 
the light, and many theatres have a very much 
worse condition than this. 

The Least Evil 

But loss of light is the least evil. The real 
damage is done through unevenness of illum- 
ination. If you will examine the cone passing 
through a central point in the film, figure 4, 
you will discover that it all enters lens A ; 
also it all enters lens B. But examine the 
cone passing through a point of the film near 
its edge and you will find that while it all 
enters lens A, it does not and cannot possibly 
all enter lens B. 

This represents conditions exactly as they 
are with the equipment indicated, placed as 
indicated. Under these conditions figure 4 
illustrates precisely what actually takes place. 
But the practical effect of it is something very 
few understand. You see a production pro- 
jected in one theatre and it “stands out” won- 
derfully well. It seems to have perspective — 


Notice to All 

P RESSURE on our columns Is such 
that published replies to questions 
cannot be guaranteed under two 
or three weeks. If quick action Is 
desired remit four cents, stamps, and 
we will send carbon copy of depart- 
ment reply as soon as written. 

For special replies by mall on mat- 
ter which, for any reason, cannot be 
replied to through our department 
remit one dollar. 

THE LENS CHART 
Are You Working by “Guess” or Do 
You Employ U p-to-Date Methods T 

You demand that your employer keep 
his equipment In good order and up to 
date. He owes it both to himself and 
to you to do so, but you owe It to him 
to keep abreast with the times In 
knowledge and In your methods. 

The lens chart (two In one, 11x17 
Inches, on heavy paper for framing) 
Is in successful use by hundreds of 
progressive projectionists. 

"Don’t guess.” Do your work 
RIGHT. Price, fifty cents, stamps. 

Address Moving Picture World, 
either 516 Fifth Avenue, New York 
City, or 28 East Jackson Boulevard, 
Chicago, 111. 


depth — stereoscopic effect. You see the same 
print of the same subject projected in another 
theatre, and it lacks those qualities. It is 
“flat.” UNEVENNESS OF ILLUMINA- 
TION CAUSED BY CONDITION B IS 
THE REASON. The lens in one theatre 
“picks up” all the beam, while the lens in the 
other theatre does not. 

I could give you still other reasons why an 
over-long projection distance is objectionable, 
and seriously objectionable too, but these al- 
ready enumerated seem ample and sufficient. 

Limits Hard to Define 

It is hard to say just what the limits of 
projection distance should be, but one hun- 
dred feet certainly is as great a distance as we 
may expect to) provide conditions enabling 
the projectionist to produce the best possible 
results. I do not wish to be understood as 
saying that 100 feet should never be exceeded, 
because there may be conditions where it is 
not practical to keep within that distance. I 
do, however, most emphatically say it will pay 
to so locate the projection room that the pro- 
jection distance will be such as will admit the 
use of a projection lens working distance not 


less than four inches or more than five inches, 
provided it can be done without a too-great 
sacrifice in other directions. 

I also say, and say most emphatically, that 
the best results will NOT be obtained if the 
distance be such as will force a working dis- 
tance too great to allow the lens to admit the 
entire beam from the aperture. 

We may sum up the matter of location by 
saying that one should try and get the lenses 
as nearly as possible central with the screen 
center under no conditions approving a loca- 
tion which will increase the height of the 
picture by more than five per cent. 

If friend boss wants a location giving a 
greater projection pitch, let him do it on his 
own responsibility, after you have explained 
the various effects to him. Try to keep the 
distance within the limits I have indicated, 
which in practice would mean, roughly, be- 
tween 60 and 100 feet. Knowing the size pic- 
ture friend boss wants you can readily, by the 
aid of the handbook, figure out exactly what 
focal length lens will be required for any 
distance he proposes. 


The Handbook at Last 

Thanks be to Isis and Osiris, and to any 
and everything else I can think of, the Fourth 
Edition of the Handbook is here at last. 

It has been just one : * ; % thing after 
another in the way of delay,” until I’ve been 
driven about half mad with the strain. I am 
unable to even think of a printer in decent 
language ! 

I have no apology to offer, because I don’t 
owe any. I have done everything humanely 
possibly to get the book out sooner, but it 
just seemed as though it could not be done. 
We’ve been promised and promised and 
promised books, until I’ve felt like a fool be- 
cause, depending on those “printer’s promises” 
I’ve promised you. 

Worth the Wait 

Well, anyhow I think you will agree that 
the book is worth the wait, and it is ready 
for you now. Its color is blue, and and we 
shall call it the BLUE BOOK OF PROJEC- 
TION. There are a great mass of orders in 
already. As I told you the United States 
Government ordered one hundred copies for 
its navy alone. You will find the question list, 
with answers indicated by page number, of 
great value as an aid to study. 

And now I am anxious to know just what 
you think of the book, so let me hear from you 
as soon as you’ve given it a thorough examina- 
tion. 



FIGURE 4 

Illustrating an Answer to “The Biggest Question.' 


September 2, 1922 


MOVING PICTURE WORLD 


67 


Interested Reader 

T. H. Whittemore, formerly Projectionist 
and Manager Select Picture Theatres, New- 
castle, California, writes: 

Dear Mr. Richardson: — Have been an in- 
terested reader of the department for some 
time. Inclosed find check for $6.00 for the 
new Handbook. 

Until a few months ago, when my theatre 
was destroyed by fire, I was one of those 
small-town exhibitors who act as projection- 
ist, manager and everything else physical 
ability will permit of. And right here let 
me say that I was proud of the results ob- 
tained, both as manager and projectionist. 

Am anticipating the erection of a new the- 
atre soon, and would appreciate an expres- 
sion of your opinion as to the best equipment 
to install in the projection room, at a mini- 
mum cost. 

The size of the town does not justify the 
installation of a mercury arc rectifier or 
other device to rectify the current. What 
do you think of Mazda? Am figuring on a 
projection distance between fifty and sixty 
feet and a twelve foot picture. 

Not “Cheap” Equipment 

When I say "minimum cost” don’t get me 
wrong and think I favor installing cheap 
equipment, for I most emphatically do not! 

What do you think of attached clipping? 
Some example of Pacific Coast progressive- 
ness, what? 

The clipping reads as follows. It speaks for 
itself. Ten years’ experience and still is only 
the operator of a mechanism 1 

MOTION PICTURE OPERATOR 
with 10 years’ experience, wishes po- 
sition. Can give references. Will 
go anywhere. Write Box L-20, In- 
dependent Exhibitor, 120 Golden 
Gate Ave., San Francisco, Cal. 

For the conditions as you have named them 
I certainly would prefer 116 Mazda to A. C. 
You should be able to get a very excellent 
twelve foot picture with Mazda and a good 
screen, and if you are able to get one of the 
new aspherical condensers you will, I think, 


MACHINES 

THEATRE EQUIPMENT 

AND SUPPLIES 

WRITE FOR C ATALOG 

EREER BROS. OPTICAL CO. 

ST. LOUIS, MO. 

be both surprised and pleased at the excellence 
of results. 

Properly handled — or perhaps I might better 
say intelligently handled, the modern Mazda 
with an aspherical condenser will give as good 
a twelve foot picture as any one need wish. 

My advice is to install it by all means, pro- 
vided you are willing to study the Mazda and 
master it in all its phases, to the end that you 
get the best there is in it. 

From what I saw in Boston I am of the 
opinion that the new condenser (which I be- 
lieve is not yet quite ready for the market) 
will put Mazda very muchly on the map for all 
small theatres and for some pretty good sized 
ones also. 


Film Buckles 

S. T. Stanley, Projectionist, Rex Theatre, 
Darlington, S. C., has trouble as follows : 

Am having trouble, and it has corralled 
my goat for quite a spell. Have two new 
Power projectors, latest models. My trouble 
seems to be the buckling of the film over the 
aperture, which produces an in and out of 
focus effect. 

Have tried tightening and loosening ten- 
sion springs, readjusting the shoes, and about 
everything- else I thought might help, but 
there is no improvement. I also examined 
the lens, thinking it might be loose in its 
chamber. The queer thing is this never hap- 
pens with anything but First National Films. 
I am, therefore, inclined to think it is due 
to film. If you can give me any help, I cer- 
tainly will appreciate it. Have been pro- 
jecting pictures for 11 years. Am a mem- 
ber of the I. A., Local 347, Columbia, S. C. 


In all my experience, nothing has “got” me 
like this. 

I wish, Brother Stanley, you had told me 
more about the service. Perhaps your First 
National is first run and the rest old stuff, 
or vice versa, though even so I would not be 
able to diagnose the case from your descrip- 
tion. 

I have had no similar complaint with regard 
to First National stock, nor do I know of any 
reason why such a thing should happen unless 
there is something you have not told me. I 
am going to refer your letter to the Power 
Company and see what they can make out of 
it; also I would suggest that any of our 
readers who can suggest anything to do so, 
preferably through the department though they 
can write Brother Stanley direct), if they 
wish. 


Carbon Trouble 

C. E. Dolan, Mt. Morris, New York, says: 

Dear Mr. Richardson: I am projectionist 

in the Family Theatre, this city. Have two 
Simplex projectors and use A. C. at the arc. 
We have a Ft. Wayne compensarc for each 
projector. We use the white flame A. C. car- 
bons, which come in sets of twenty-five. 

The trouble is the small bottom carbons 
burn faster than the upper, and from the last 
fifty sets we have twelve top carbons left to 
one bottom one. Any information you can 
supply regarding the cause of this will be 
highly appreciated. 

The fault may or may not be with the car- 
bon trim. First, make sure that your lower 
carbon is making good contact with the jaw, 
since poor contact would set up abnormal heat- 
ing in the carbon. 

If this is not found to be the case, then I 
would suggest that you take the matter up 
with the National Carbon Company, Cleveland, 
Ohio. Address the manager of the Projector 
Carbon Department and tell him I referred 
you to them. 



PERFECT PROJECT" I ON 


Upon tire sound foundation of 

PERFECT PROJECTION 


Rosts Picture Success 
Re sts Theater Success 
RostsyOU R Success 


RICHARDSON'S > E EDi^nON Thl 
l^DBC®KfPROJECTI(^ 


Order Yours Today! 
$6.00 Postpaid 


AS A STARTER 

The U. S. Navy orders 100 copies of Richard- 
son’s New Fourth Edition HANDBOOK 
of PROJECTION. 

That’s what you call PRACTICAL EN- 
DORSEMENT! 

The new Handbook contains 1,000 pages of 
necessary projection information; a com- 
plete, efficient index; and 842 questions with 
answers. 

Chalmers Publishing Company 

516 Fifth Avenue New York City 


68 


MOVING PICTURE WORLD 


September 2, 1922 



The New Castro of San Francisco 
Has a Unique Decorative Scheme 


S AN FRANCISCO has many notable resi- 
dential district moving picture houses, but 
none have attracted more attention than 
the New Castro Theatre, opened on the evening 
of June. 22. 

This house, which covers a lot one hundred 
by one hundred and fifty feet in size, is located 
on Castro street, near Market, near the eastern 
portal of the Twin Peak tunnel, the longest 
municipal tunnel in the world, and one which 
taps a splendid new residential section. The 
theatre has a seating capacity of 2,000, and is 
owned and operated by Nasser Brothers, and 
represents an investment of about $300,000. 
Timothy L. Pflueger was the architect. 

Nasser Brothers have been associated con- 
tinuously with moving picture enterprises in the 
Eureka Valley district since 1907, and six of 
them have an interest in the new house. Wil- 
liam, Elias and George Nasser are actively 
identified with the theatre, the latter acting as 
resident manager. The Liberty was their first 
theatre in the district and later this was sup- 
planted by the older Castro, which in turn, has 
been succeeded by the new house. 

Designed on Daring Lines 

The new Castro Theatre has been designed 
along rather daring lines, and it is this unusual 
feature that is one of its greatest charms. 
Influences of the Orient and Occident have'been 
combined, with features of Spanish and Italian 
origin, resulting in a theatre entirely different 
from the usual run of moving picture houses. 

The structure is of strictly fire-proof con- 
struction, being built largely of reinforced con- 
crete, and presents a pleasing appearance. It is 
the interior which offers such an unusual feast 
for the eye. The theatre proper is suggestive 
of a Roman amphitheatre with stone walls, a 
canopied ceiling suspended from ropes and a 
cantilever roof of wood over the stage. 

The culminating feature of the decoration is 
the canopy of plaster, which imitates a richly 
decorated fabric hung on ropes of gold. From 
the center of the ceiling hangs a Moorish 
lantern, with shades of colored parchment and 
fringed with tassels and valances, which pro- 
duces an effect of Oriental splendor. 

Scraffito Panels 

For the first time, it is believed, in theatre 
construction in this country, use has been made 
of Scraffito work, an old Italian art, two large 
panels, twenty-six by twenty-nine feet in size 
being on either side of the auditorium. This 
work, by the Faggioni Company Studios, has 
attracted much attention from interior decora- 
tors. The process employed is a combination of 
carving and etching in plaster. Layers of 
differently colored plasters are applied in thin 
coats and the design later etched, revealing the 
desired colors beneath. 

The balcony of the Castro projects but a few 
feet over the rear of the orchestra section and 
all patrons are enabled to enjoy a view of the 
ceiling and the splendid side walls. It is reached 
by short inclines from the mezzanine lounge, 
which extends the full width of the building. 
During the matinee hours this floor is available 


to ladies for bridge, tea or club parties, without 
any expense in addition to the usual admission 
prices, and has become quite popular. 

The projection room is located at the top of 
the balcony in the center of the house and is 
equipped with two Simplex projectors, spot 
lights and a stereopticon. This room is quite 
large and its appointments are of a high order. 

Ample Ventilation Facilities 

The heating and ventilating system was in- 
stalled by James Nelson, the equipment having 
a capacity for a larger house than the Castro, 
thus insuring an abundance of fresh air of the 
desired temperature at all times. The location 
of the house in the warm belt of the Mission 
also simplifies the heating problem. 

Music has a prominent place on the program 
and is furnished by a Robert Morton organ, 
presided over by Lloyd Carmichael, and an 
orchestra led by Frank Siegrist, a noted cornet- 
ist. A grand piano is a part of the musical 
equipment. 

Special attention has been paid to the seating, 


all equipment of this kind having been furnished 
and supplied by C. F. Weber & Company. 

A Spencer turbine vacuum cleaner system is 
another feature of the equipment, every part of 
the house being reached by this. 

The publicity work is handled by W. Harold 
Wilson, who is making a specialty of such work 
for district theatres, and patrons are being 
attracted from all parts of the city. 

Ladies’ rest rooms are to be found on both 
the ground floor and on the mezzanine, with a 
maid in attendance, and a men’s smoking room 
is located downstairs. 

The matinees are from 1 :30 to 5 o’clock 
p. m., and the evening performances from 6:15 
to 11:00 p. m., with the exception of Sundays 
and holidays, when the house is opened earlier 
and the show is continuous. 

The prices are 15 cents for the entire house 
at matinees, except Sundays and holidays, and 
25 cents evenings, Sundays and holidays, with 
five cents extra for the loge seats. The war 
tax is extra. Admission for children is 10 
cents at all times. 


Our Compliments to J. F. Collins 

The Showman of Lyndhurst, N. J. 


'J last week’s issue we complimented ex- 
hibitors who were sufficiently progressive to 
convert their older houses into 1922 models 
of comfort and convenience. 

This week, we remove our chapeau in honor 
of J. F. Collins, proprietor of the new Collins 
Theatre, of Lyndhurst, N. J., which opened in 
a downpour of rain on the night of August 
first. 

The Collins is not a big house, only S’50 seats 
in fact, and Mr. Collins realized that his com- 
petitors could show just as good pictures as 
himself, that they could and probably did have 
just as good projection equipment So, he pro- 
ceeded to specialize on patron comfort with a 
capital “C” by installing a seating system which 
provided two individual arm rests to each and 
every occupant of the seats. 

He also figured out that it was not the late 
comer who always disturbed the show by 
cutting off view of the picture, for the late- 
comer might be thin and walk edgewise. It 
was the long line of patrons who bobbed up 
to give the latecomer passage room who actually 
shut off the screen view in appreciable and un- 
pleasant quantity. 

Screened the Instructions 

So he installed a seating equipment that 
would allow any one in the audience to swing 
sideways, without rising, and let the culprit 
pass in peace and without doing any damage to 
shines, corns or chiffon skirts. And, having 
installed the system, he did not take any chances 
that the audience might at first, miss the real 
advantages of the new chairs. 

He did not rely upon a note on the program 
which might never be read, verbal and verbose 
instructions by the ushers that would be a 
nuisance to all concerned or to a megaphone 


orator on the stage. He took his own prescrip- 
tion and showed a moving picture that, in a 
few feet, showed just how the seats swivelled 
and why and the audience got it the first hand 
round and were contented, happy and appre- 
ciative. 

And, when a lady of large diameter and two 
kids sailed in at one aisle end of a row and 
ended two seats from the other end there was 
not a groan or an aching corn in her triumph- 
ant wake. Everybody gently swivelled and 
the lady and her convoy had passage way. 

That Collins was progressive enough to pick 
out a new device and install it in a moderate 
sized house is to his credit. That he utilized 
showmanship in advertising it and making it 
popular from the first, shows genius. It also 
demonstrated how it is possible for an ex- 
hibitor to feature the good points of his equip- 
ment from the first jump, and ease his patrons 
into the proper use of the facilities that he 
gives them. 

And Collins was wise in that instead of lay- 
ing himself open to a lot of correspondence 
and telephone calls he explained on the screen 
that the new chair was the Mov-Ezv built by 
Josiah Partridge Sons Company. Marbridge 
Building. New York. 

Buffalo’s Olympic 
Re-opens Labor Day 

The Olympic in Buffalo reopens Labor Day. 
The house has been completely remodeled and 
redecorated. Bill McKenna, formerly at the 
Miles theatre in Detroit, will be manager. 
“The Storm” is the opening attraction. 



pal 


September 2, 1922 


MOVING PICTURE WORLD 


69 



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70 


MOVING PICTURE WORLD 


September 2, 1922 


“DURATIZE YOUR FILM” 

Add to the life of your film by 

Preventing Rain 
Strengthening SprockeUHoles 
Reinforcing Solices 
OiLProofing 

DURA FILM PROTECTOR CO., Inc . 

220 West 42nd Street Allan A. Lobones, Pres. 

ffetO york. City Phone, "Bryant 5576 


East Indian Organist Delights 

Kenosha’s Moving Picture Fans 



D R. HYLAND ELMAN SLATRE-WIL- 
SON now presides at the big three man- 
ual Barton Orchestral Organ installed in 
Saxe Brothers’ half-million dollar Orpheum 
Theatre, Kenosha, Wis. 

Dr. Slatre-Wilson is one of the best educated 
musicians in the United States. His educa- 
tion was begun in the public schools of Syra- 
cuse, New York, and continued at the college 
of the City of Ne\y York, the State University 
of New York and under such masters of music 
as Leschetizky, Marescalchi, Consolo, Vitale 
and others in piano, violin, voice orchestration 
and composition. 

From his youth Dr. Slatre-Wilson took up 
the study of the organ and at the age of fif- 
teen became city organist of the All-India 
University of Bombay, India, his native land. 
He organized the 150 piece Emin D’Nalyh 
Orchestra, named after him. (Emin D’Nalyh 
is Dr. Slatre-Wilson’s family name). 

Dr. Slatre-Wilson comes from a long line 
of great East Indian educators. About ten 
years ago he returned, to the United States 
with John Alexander Dowie, of Zion City, 
Illinois. Dr. Dowie at that time was building 
the Zion City tabernacle and planned to in- 
stall one of the best pipe organs in the United 
States to be used in connection with a large 
choir and extensive musical festivals. Dr. 
Slatre-Wilson was placed in charge of the 
organ selection and installation and himself 
designed one of the best Cathedral Organs in 
the United States, which even now is a famous 
feature of Zion City. The organization and 
establishment of the great Zion City Choir, 
whose singing has brought pleasure to hun- 
dreds of thousands in dozens of cities, was also 
a work of Dr. Slatre-Wilson. 

Founded Conservatory 

Moving to Kenosha, Wisconsin, Dr. Slatre- 
Wilson founded the Conservatory of Music, 
which he conducted with great success until 
the opening of the Orpheum, when he took 
his place at the console of the Barton Or- 
chestral Organ installed there. The combina- 
tion of Dr. Slatre-Wilson’s musical skill and 
the widely versatile three manual Barton Organ 
has captivated Kenosha’s music loving movie 
goers, and the Orpheum is crowded daily and 
nightly. The delicately shaded, thousand-tone 


melodies pouring from the dozens of throats 
of tf<e Barton Organ in response to the touch 
of Dr. Slatre-Wilson’s gifted fingers is a 
revelation both of human skill and instru- 
mental perfection. 

In explanation of the marvelously intricate 


DR. SLATRE-WILSON 

At the console of the Kenosha Orpheum’* 
Barton orchestral organ. 

improvisations and minute tonal gradations 
with which Dr. Slatre-Wilson delights Or- 
pheum audiences, he modestly gives great credit 
to the Barton Divided Manual. “I was greatly 
surprised,” he says, “to find that in spite of 
the many tonal combinations and rich expres- 
sion possible with the Barton, I was able to 
play it readily on sight, without a minute of 
study and I find it a constant inspiration in 
my daily striving to gain further mastery of 
organ playing.” 


SHEBOYGAN, WIS.— E. R. and T. M. 
Bowler, 520 North Eighth street, will erect 
theatre and office building to be erected on 
North Eighth street, to cost $150,000. 


MANAGERS— 

ELECTRICIANS 

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from the expense 
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But it requires knowledge and experience to 
insure good projection from the very first show. 

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Write us today — we can help you. 

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FIVE THOUSAND YARDS Battleship Lin- 
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September 2, 1922 


MOVING PICTURE WORLD 


71 


EASTMAN 
POSITIVE FILM 

Adds good photography to picture interest 
— gives that truthful, accurate reproduction 
that is only possible when the reproductive 
scale of the positive material parallels that of 
the negative. That’s why Eastman Positive 
Film carries quality through to the screen. 

Eastman Film, both regular and tinted 
base — now available in nine colors, is 
identified throughout its length by the 
words “Eastman” “Kodak” stenciled in 
black letters in the transparent margin. 


EASTMAN KODAK COMPANY 

ROCHESTER, N.Y. 


72 


MOVING PICTURE WORLD 


September 2, 1922 


Pleasure 

is what your audiences pay 
for. Make it more certain 
that they get it with a 
Barton Orchestral Organ. 

Write for particulars and the 
Barton Pays- for- it self Plan. 

The Bartola Musical 
Instrument Co. 

59 E. Madison Street 
CHICAGO, ILLINOIS 



©ICMESTML m&A N 



Longer Life for Films 
by the Dura Process 

What promises to be an important factor in 
economical film production is the process for 
treating film as operated at the East Orange 
plant of the Dura Film Protector Company, 
Inc., of which Allan A. Lownes is president, 
with offices at 220 West Forty-Second street, 
New York. 

The process consists of chemically treating 
the emulsion side of the film so as to provide 
a smooth glass-like surface which it is claimed 
not only lengthens the life of the film, pre- 
vents wear and tear, eliminates scratching and 
rain but actually increases both depth and bril- 
liancy of screening. 

The process is a German invention, the 
patent rights for which, covering both process 
and machinery have been secured by the Dura 
Film Protector Company, which also has ac- 
quired the American patent rights which it 
states broadly cover the various means of so 
treating films including the patent on the film 
itself when so treated. 

Proven Worth of Formula and Machines 

The Dura Film Protector Co. will use in 
its work the formulas and machines which 
have been so successfully used in Germany. 
It has already established one unit at West 
Orange, New Jersey, where it is beginning to 
operate commercially. Other units will be 
equipped as rapidly as machinery can be in- 
stalled. Its trade-mark is “Duratize” and its 
trade slogan, “Duratize Your Film.” 

Not the least interesting of the claims which 
are made for Duratized Films is that old 
films which have had several months’ wear can 
be Duratized after renovation and made to 
have the appearance of being like new. This 
news will be of particular interest to exchange- 
men who will doubtless wish to save their in- 
vestments in prints which might otherwise be 
considered of little or no value. 

Niagara Falls’ Strand 
Has Cost One Million 

The new Strand theatre in Niagara Falls 
erected at a cost of $1,000,000 by a company 
headed by A. C. Hayman, will open to the 
public Saturday evening, August 26. Hope 
Hampton and Lew Cody are expected to appear 
in person. The opening feature will be “The 
Light in the Dark,” starring Miss Hampton. 
Senator James Walker will also attend as the 
guest of Mr. Hayman. George Albert 
Bouchard will play the organ and Albert 
Greenverg is conductor of the orchestra. The 
Strand has a seating capacity of 2,200. R. 
W. Thayer, formerly connected with Para- 
mount’s theatre department, is managing direc- 
tor. 

Gouvemeur’s Graylyn 
Changes Ownership 

The Graylyn theatre in Gouverneur, N. Y., 
has been purchased by James and Harry 
Papayanakas, who formerly controlled a num- 
ber of theatres in Watertown. Harry will 
manage the Graylyn. 


TYPHOON COOLING SYSTEM 

TYPHOON FAN CO. •• 345W.39'ST. NEW YORK 


NEW YORK 



SPECIAL 

ROLL 

TICKETS 


T.nr own spedil Ticket, 
a nj colore, accurately num- 
bered ; erery roll guaranteed. 
Cetrpea Tick eta far Prlae 
Drawlnci: 15.00, *6 00. 

Prompt ahlpmente. Cash 
with the order. Get the 
aamplee. Send diagram far Xeaerred 
Seat Coupon Tlekete, aerial er dated. 
All tickets must conform to Got era - 
ment regulation and beer established 
price of admission and tax paid. 

SPECIAL TICKET PRICES 

Five Thousand $3.0* 

Ten Thousand 5.0* 

Fifteen Thousand (it 

Twenty-five Thousand 9.00 

Fifty Thousand 12.50 

One Hundred Thousand. .. .16.99 

National Ticket Co. shamokin. Pa. 


MAILING LISTS 

MOVING PICTURE AND 
LEGITIMATE THEATRES 


22196 Moving Picture by States per M Ml 

1219 Film Exchanges, for List 7J9 

196 Manufacturers and Studios Ul 

419 Machine and Supply Dealers 4jM 

M74 Legitimate Theatres U. S. A Can. 2 U9 
ill Vaudeville Theatres 7J4 


A. F. WILLIAMS 


IN W. ADAMS ST. 


CHICAGO 


CLASSIFIED ADVERTISEMENTS 

Help and Situations Wanted Only 


3c per word per insertion 
Minimum charge 60c 

Terms, strictly cash with order 


C#py must reach us by Tuesday noeo to lustre 
ilc&tion Id that week's Issue. 


SITUATIONS WANTED 

MANAGER — Extensive experience. first-run 
pictures and combination houses. Exploitation 
expert, executive ability. Now directing three 
first-run houses. High-class man, desiring this 
kind of connection only. One with a permanency, 
where long experienced hustler is needed. Box 
272, Moving Picture World, New York City. 

EXPERIENCED MUSICAL DIRECTOR (Vio- 
linist) wants position. Union. Competent, re- 
liable. Large library. Expert picture cueing. 
Stage Prologues. A1 references. Prefer first-class 
motion picture theatre, in live city. Box 275, care 
Moving Picture World, New York City. 

ORGANIST of exceptional ability and exper- 
ience desires engagement in first-class theatre. 
Expert picture player, recitalist and concert per- 
former. Familiar with all makes. Exceptionally 
lino library. Union. Address Arthur Edward 
Jones, Box 194, Portsmouth. Virginia. 

GEORGE H. I.ATSCH, theatre organist, wishes 
to connect with first-class house, where picture 
interpretation is a great asset. Available Septem- 
ber 10th. 4906 North Front Street. Philadelphia. 
Pa. 

HELP WANTED 

EXPERIENCED YOUNG CAMERAMAN, 
scenario writer, wants partner with small capital. 
Gentile preferred. Bona fide proposition. Write 
all particulars. Box 274, Moving Picture World. 
N. Y. City. 

SALESMAN ACQUAINTED with buyers and 
who can obtain orders for sales and order hooks 
can make favorable commission arrangements 
with leading Chicago concern in this line. Chicago 
Sales Book Company, 337 West Madison Street. 
Chicago, 111. 




September 2, 1922 


MOVING PICTURE WORLD 


73 



‘ (f ~ " 



The Palatial Palace 

Keith's Premier Theatre in New York is generally 
conceded the best in service equipment. 

Quite naturally Keith's Palace equipment includes 


DIXIE cup 


endinc machines 

Hotels, theatres picture houses, railroads, terminals 
and cars, as well as public buildings everywhere find Dixie 
Penny Vending Service a public convenience, self- 
supporting and profitable, highly appreciated by a steady 
stream of users. , 

particulars and sample cups on request. 

Jndividval Drinking (vp (ohpany. Inc 

Original maker* of the paper cup 
EASTQN, PEW A. 

WITH BRANCHES AT 

NEWY^RK PHILADELPHIA j CHICAGO CIEVELaND 
BALTIMORE LOS ANGELES 


FIRE! 

May result from badly installed electrical equipment or 
poorly chosen materials. 

Hallberg’s Motion 
Picture Electricity 

$2.50 Postpaid 

is a book that is as good as an insurance policy if you heed 
its advice and get the best equipment for your needs, and 
know how to have it properly installed. 

CHALMERS PUBLISHING CO. 

516 FIFTH AVENUE NEW YORK, N. Y. 



Means Ease at the Movies 


WILL IT BE 


YOUR THEATRE? 


One theatre gets the cream of 
the trade. Is it yours? That’s 
up to you! Give the people a 
reason for preferring your theatre. 
Be the first to install the Mov-Ezy 
chair. It has proven its worth to 
others. It will mean bigger busi- 
ness to you. 


This patented chair has everything 
any other comfortable theatre chair 
offers — plus a whole lot more. Each 
Mov-Ezy is an individual chair with 
two arm rests of its own. By means 
of a special device the Mov-Ezy 
can be turned to either side to al- 
low passage space between rows. 

No longer is it necessary for thea- 
tre patrons to rise to awkward 
positions as other people stumble 
past. The Mov-Ezy also enables 
each spectator to sit at such an 
angle as will give him an unin- 
terrupted view of the screen. 


Z— 

Jr 

“ 

l 

V 


Call at show room for demonstration or 1 
write for beautifully illustrated catalogue. 


Josiah Partridge & Sons Company, Inc. 

47 WEST 34TH STREET, NEW YORK 
529-541 MARBRIDGE BUILDING 
Show Room Sales Office 


QUARTER 

SIZE 

2Va inch 
2% inch 
3 inch 

$30 


HALF 

SIZE 

5 to 8% inches 

$50 


3% to 6 inches 

$25 


9 to IX inches 
$60 


SOLD BY ALL LEADING SUPPLY HOUSES 



Send for Descriptive Booklet 


KOLLMORGEN OPTICAL CORPORATION 

35 Steuben Street Brooklyn, N. Y., U. S. A. 

We manufacture “Snaplite Jr.” lenses for 
portable projection machines. 


In Answering Advertisements, Please Mention the 
MOVING PICTURE WORLD 


LA VITA CINEMATOGRAFICA 

The Leading Independent Organ of Italian Film Trade 

FO rI?G llfcOUNTRI ES SIX DOLLARS A YEAR 

Advertisements : Tariff on Application 

Editorial Offices: TURIN (Italy) — Galleria Nazionale 


B. F. PORTER TAKES OVER BIG CENTER 

Will Have Largest and Finest Motion Picture Trade Center, Equipment Supply House, 

Public Projection Room, Service and Emer gency Station, in the World. Best Experts 
for Repairing Machines and Generators. Prompt Service for Theatre Troubles. 

B. F. PORTER, ENTIRE SECOND FLOOR, 729 SEVENTH AVE., AT 49th ST., NEW YORK 




74 


MOVING PICTURE WORLD 


September 2, 1922 




ZS HEATING SYSTEM 


A Combined ^Ventilator 
and Heater 

The Skinner Bros. Direct Fired Heater offers the ideal 
combination of ventilation and heat in a single unit. No 
pipes or ducts used — your auditorium remains clear and 
unobstructed — the heater can be completely concealed 
from view. In operation it is odorless and practically 
noiseless. 

In the summer time, heater can be used 1 to draw pure, 
fresh air from the outside and diffuse it through audi- 
torium, where it displaces the impure air and drives 
it out through the regular ventilator openings in the 
building. 

When used for heating, the air is warmed as it is drawn 
through the heater. This warm air can be recirculated 
through the building as often as desired. 

Economical— Fully Guaranteed 

Even in coldest weather the Skinner Bros. Heater needs 
to be operated only a few hours daily. Costs little to 
install and can be operated by anyone. If steam is avail- 
able we supply our Baetz Type, which uses live or 
exhaust steam at any pressure. 

Every Skinner Heater is fully guaranteed. Should a 
heater, when installed as directed by our engineers, fail 
to accomplish the results we specify, it becomes imme- 
diately returnable at our expense. 

Find out more about the Skinner Heater — we will gladly 
submit full details, without obligation, of course. 

Skinner Bros. Mig. Co., Inc. 

1440 So. Vandeventer Ave. St. Louis, Mo. 

Factories: St. Louis, Mo., and Elizabeth, N. J. 

Boston. 4 61 Little Bldg. Kansas City. 343 Lee Bldg. 

Buffalo, 718 Morgan Bldg. New York, 1718 Flatiron Bldg. 

Chicago, 1719 Fisher Bldg. Pittsburgh. 24 Wood St. 

Cincinnati, Ohio San Francisco. Monadnock Block 

Cleveland. 628 Marshall Bldg. Spokane. 425 First Ave. 

Detroit, 324 Scherer Bldg. Washington, D. C., 730 Evans Bldg. 


Top Interior view of the Ozark The- 
ater. Webster Groves, Mo., 
showing beauty of interior fin- 
ish permitted by Skinner Bros. 
System. Dotted arrows show 
where treated air enters the 
theater through Louvre Grilles' 
Right Basement of Ozark Theater 
showing complete Installation cf 
Skinner Bros, direct-fired Heat- 
ers with special sheet-metal en- 
closure. 


S HOW your films to the 
best possible advantage 
by projecting through a 

BAUSCH & LOMB 

CINEPHOR 

The New Projection Lens 

The Cinephor sharply defines details, 
gives brilliant illumination with max- 
imum contrast between black and 
white, and shows remarkable flatness 
of field. Made in the great optical 
shops of Bausch & Lomb, the quality 
is the best — and absolutely uniform. 

Write for interesting literature 


Bausch & Lomb Optical Co. 

St. Paul Street, Rochester, N. Y. 

New York Washington Chicago San Francisco London 

Leading American Makers of Photographic Lenses, Microscopes, 
Projection Apparatus (Balopticons), Ophthalmic Lenses and In- 
struments, Photo-Micrographic Apparatus, Range Finders and Gun 
Sights for Army and Navy, Searchlight Reflectors, Stereo-Prism 
Binoculars, Magnifiers, Automobile Lenses and Other High-Grade 
Optical Products. 


.FOR YOUR CONVENIENCE 

I 

American Film Company Laboratories will store your 
negatives without cost to you. This is but part of our 
service to thousands of satisfied customers. Write for 
full particulars. 

EXPERT FILM PRINTING 

Our organization is expert in printing films. Years 
of careful work and unceasing study enable us to get 
the very best out of your negatives. Nothing is left to 
chance. We know and know positively how to get the 
best results. A trial will convince you. May we have 
your next order? 


Developing 

Printing 

Tinting 

Toning 

Editing 

Titling 

Ordinary film reduced 
to American Standard 
Safety Size. 

(Absolutely fireproof 
film passed by all fire 
underwriters.) 

A film printing capacity 
of one million feet 
weekly. 

American Film Co., 
Inc., Laboratories 

6227 Broadway, Chicago, III. 

and 

London, England 
Samuel S. Hutchinson, Pre». 


V 



American 10 Points: 

1 — QUALITY. Print* known for 
brilliancy and cJearneea. Expert 
staff, trained by years ot ex- 
perience, assures highest qual- 
ity prints obtainable. 

2— REPUTATION. Gained In It 
years of experience. 

3 — RESPONSIBILITY. A concern 
of strong financial standing. 

4— LOCATION. In the proper geo- 
graphical location, assuring 
quick delivery anywhere. 

5— EQUIPMENT. All of the most 
modern obtainable. 

•—CLEANLINESS. Within two 
blocks of Lake Michigan. Away 
from dirt and dust. 

7— SAFETY. Plant approved by 
City of Chicago and Board of 
Fire Unde rwriters. 

8 — PROMPTNESS. Accustomed to 
serve exacting requirements. 

•—PRICES. Reasonable and com- 
petitive. 

!•— GUARANTEES. Writ# for our 
unique guarantee of quality 
work. 


V 


r 



MOVING PICTURE WORLD 



A FEW WORDS ABOUT MR. HAMRICK 


when MR. JOHN HAMRICK 
the well-known northwestern 
exhibitor opened the 

BLUE MOUSE THEATRE 
in SEATTLE 

he bought Simplex 

and when he opened the 

BLUE MOUSE THEATRE 
in PORTLAND 

he bought Simplex 

and when he opened the 

BLUE MOUSE THEATRE 
in TACOMA 

he bought Simplex 

and he’s just opening the 

BLUE MOUSE THEATRE 
in ASTORIA 

and again bought Simplex 

what does it really mean 
when a man 

BUYS and BUYS and BUYS 

SIMPLEX ? 


a 


DOESN’T IT INDICATE 

ABSOLUTE SATISFACTION ? 



The PbecisionMachine (o .Tnc! 

317-29 East 34th: St-NewYork 



MOVING PICTURE WORLD 



POWER’S NEW FRONT PLATE AND LENS MOUNT 

CAN BE ATTACHED WITHOUT DIFFICULTY 
TO ANY MODEL OF 

POWER’S PROJECTORS 


IIIIDIIIIIIIIIIIIIIIIIIIIIIIillllllllllllllllllllllllllilll 


^ NICHOLAS POWER COMPANY 

.45 




■ ■ - ■ ■ ■ 


NEW FRONT PLATE AND 
LENS MOUNT FOR\ 

POWER’S PROJECTORS 

Has a rack and pinion adjustment with double focusing knobs so that the lens may be easily 
focused from either side of the projector. The front plate is a solid casting which provides a rigid 
support for the lens mount. A thumb screw securely locks the lens mount after the picture has been 
brought into accurate focus. 

The mount proper consists of a split collar which is securely clamped by means of a set screw, 
thus holding the lens firmly in position. Adaptor rings can he supplied to hold any projection lens 
of standard diameter, and lenses may be changed without difficulty or delay. 


SET SCREW 


FRONT PLATE 


CLAMPS SPLIT COLLAR 
ADAPTOR RING 


LENS 


THUMB SCREW 


ING KNOBS 


S LENS MOUNT 
DOU BLE 





Picture 


WORLD 


Vol. 58, No. 2 


SEPTEMBER 9, 1922 


PRICE 25 CENTS 


For the season of 1922~1923 

Gold® 




Published by CHALMERS PUBLISHING COMPANY 


516 FIFTH AVE. 
NEW YORK CITY 


Entered as second class matter June 17, 1908, at the Po3t Office at New York, N. Y., under the act of March 3, 1879. Published weekly. $3 a year 


MOVING PICTURE WORLD 



From the • story by 

JAMES OLIVER CURWOOD 

C£ (paramount Picture 


with 

ALMA RUBENS 

directed by 

FRANK BORZAGE 


Cash in on this big money maker! 


C re ate d by 

Cosmopolitan productions 


Here is a Gold Aline For You l 


Curwood, past master of Northwest country fiction, never 
wrote a better story than “The Valley of Silent Men." 

Borzage, who directed “Humoresque,” took his company to 
the actual location where the scenes are laid and there, amidst 
the natural surroundings, made his picture. He has created 
another “Humoresque,” the gold medal winner, the picture 
exhibitors fought for and of which the public never tired. 

Alma Reubens does the greatest work of her career. Lew Cody, 
George Nash and Joe King are included in the all-star cast. 


THE VALLEY OF 
5ILENT MEN 


JESSE LLASKY PRESENTS A JAMES CRUZE PRODUCTION' 

"THE OLD ii 
HOMESTEAD 



WITH 


Theodore 

Roberts 




George Fawcett 
I Roy Barnes 
Harrison Ford 
Fritzi Rid&way 

CC Cparamounl Q>idure 


The 

most beloved character 
actor in the world in the 
most beloved role ever 
written ! 






THE OLD HOMESTEAD 



WITH 

Theodore Roberts, 
George Fawcett 
T Roy Barnes, 
Harrison Ford, 
Fritzi Riddway 


A JAMES CRUZE PRODUCTION 
CC (paramount (picture 


FAMOUS PLAYER* L.SKY UJWORATIO*. 


PRESENTED DY JESSE L LASKY 


Adapted from Denman Thomp- 
son’s Play by Per ley Poore 
Sheehan and Frank Woods. 
Scenario by Julien Josephson 


T HE Old Homestead" will 
leave your audiences limp 
after two hours of laugh- 
ing, crying, thrilling and a 
general continual feeling of 
“Gee, this is a great show!” 
The cyclone — the greatest 
thing of its kind leaves you 
absolutely gasping with amaze- 
ment. 

The heart-throbs well, you 
know what they are. They’ve 
made the American public cry 
for the past forty years. Now 
imagine those same scenes in- 
tensified by one of the greatest 
casts in history! 

"The Old Homestead" is so 
big that people will be still 
talking about it three years 
from now. 





COMEDIES 

Have Earned 
Your Patronage 


B ECAUSE their quality has 
been consistently high and 
sustained through two success- 
ful years of furnishing laughter to 
millions of theatre-goers. 

They are produced under the 
personal supervision of Jack 
White, the youngest and one 
of the most highly regarded 
directors of screen humor. 

They do not depend on so-called 
“gags” to force a laugh. The director’s 
artistry consists of, an unusual ability 
to manufacture genuinely humorous 
situations which at the same time are 
possible situations. 

Patrons of motion picture theatres who 
have enjoyed any of the following 
MERMAID COMEDIES— 


A Fresh Start 
Moonshine 
For Land’s Sake 
Step This Way 
The Rainmaker 
Treasure Bound 


The Vagrant 
Bang! 

Free and Easy 
Rolling Stones 
Poor Boy 
Rapid Fire 


Robinson Crusoe, Ltd. 


will be glad to know that Educational 
will release thirteen of these two-part 
productions for the season of 1922-1923. 

MERMAID COMEDIES are always 
identified by our trade-mark on posters 
and lobby cards displayed in the en- 
trances of theatres which pay for qual- 
ity throughout their entire programs. 

Ask at your favorite theatre now if they 
have contracted for MERMAID COM- 
EDIES, the great humorous gems of 
the screen. 


Patronize theatres displaying this sign — 

It’s the Sign of a 

WHOLE Evening's Entertainment 



MERMAID 

COMEDIES 

JACK WHITE 

PRODUCTIONS 


"Qet Away to a Strong Start ,f 

SAYS GEORGE BLAISDELL, SHORT SUBJECT 
EDITOR OF EXHIBITORS TRADE REVIEW 



and LADIES’ HOME JOURNAL Later Issue 

Will patronize theatres showing Mermaid Comedies because the public, 
your patrons, always buy products that are nationally advertised. 

Contract for 1923 Series NOJV! 

13 TWO-REEL COMEDIES 
Produced by JACK WHITE 

EDUCATIONAL FILM EXCHANGES, Inc. E. W. Hammons > President 



EDUCATIONAL FILM EXCHANGES, Inc. 



80 


MOVING PICTURE WORLD 


September 9, 1922 


Educational pictures 

1922 - 1923 


jAl BOOKLET is being mailed this week 
to exhibitors in the United States and 
Canada, presenting Educational Pictures 
for 1922-1923* 

Keep this booklet on your desk through- 
out the yean Every Short Subject pre- 
sented is a feature in itself* 

The products listed will balance any pro- 
gram, and you need some of them for 
every program* 

If you do not receive your book by Sep- 
tember 1st, write us immediately and we 
will mail another* No exhibitor should 
be without this Short Subject Guide for 
1922-1923* 



EDUCATIONAL FILM EXCHANGES, Inc. 

E. W. Hammons, President 


September 9, 1922 


81 


MOVING PICTURE WORLD 


The Spice of the Program 

1922 - 1923 


Christie Comedies 

20 Tr/o-Reel Subjects 
Supervised by Al. Christie 

Lloyd Hamilton in 
Hamilton Comedies 

6 Two-Reel Special Comedies 


Cameo Comedies 

24 One-Reel Subjects 
Rough-and-Tumble Comedies 

Tony Sarg’s Almanac 

12 One-Reel Comedies in Shadowgraf 


KINOGRAMS 

The Visual News of all the World 

Issued Twice a Week 


Mermaid Comedies 

Jack White Productions 
13 Two-Reel Subjects 

The Adventures of 
Sherlock Holmes 

12 Two-Reel Subjects 
By Sir Arthur Conan Doyle 

Wilderness Tales 

By Robert C. Bruce 
10 One-Reel Subjects 

Earl Hurd Comedies 

6 One-Reel Subjects 
Humorous Combination of Living 
Actors and Animated Cartoons 
Presented by C. C. Burr 

AND SPECIALS 

Like 

"The Radio Special,” The Enchanted 
City” and "Man Versus Beast” 


i 



ALL BACKED BY NATIONAL ADVERTISING 
TO TWENTY-FOUR MILLIONS OF PEOPLE 


i 



For Five 

Weeks in Los Angeles 


This biggest and best Charles Ray feature played to capac- 
ity in Los Angeles in spite of mid-summer weather condi- 
tions and was still drawing strong. The box-office reports 
many persons seeing the picture more than once. Unan- 
imous praise from exhibitor, public and critics. 


Qrthur S. Kane 


L>harles 1< 


12 y Harry Jam err (Smith 

Qd~ produced by Cohan and Harris in the United States of Qmerica 

Direction , Joseph De Grasse 

R.elea<sed by 

UNITED ARTISTS CORPORATION 

MARY PICKFORD • CHARLIE CHAPLIN 

DOUGLAS FAIRBANKS • D . W. GRIFFITH 

HIRAM ABRAMS . PRESIDENT 


\ 



Sensational Surlesque 


Sid shoarmen thi'oudhout 
the country recodn/ze the 
csalue of an occasiona / 
feature- lendth comedy 

J'heretr a corkind burlesque 
of one of the best knoarn 
stories ewer arritten 


'you Must Qet yours 


let yours 


Dali in line asith 


the hundreds arho 

are boo kind 

m o 


01 lied Producers and Distributors Corporations » 

72*9 Seventh Ocrenue, Jfeai Cjork City 
u— Q Branch Office located in each United Ortiptr Corporation CxchanOe — 






84 


MOVING PICTURE WORLD 


September 9, 1922 




Isadore Bernstein 

presents 


MONROE 

SALISBURY 


'Ihe Great Alone 


Directed, by Jacques Jaccard 
Personally Supervised by Isadore Bernstein 


The final answer on a picture is found in a list of 
the first run accounts that play it; the number of 
circuits that play it and in the reports made by 
the exhibitors who have played it. That kind of 
answer is the answer of the box-office and it doesn't 
lie or go wrong once in a thousand times. 

In "What the Picture Did for Me” and in the 
"Exhibitor Box-Office Reports” you find highly 
favorable reports on the business "The Great 
Alone” has done in every section of the 


country. It has won both public and exhibitor 
favor. 

"The Great Alone” is a big, virile, full-of-action 
romantic melodrama ; a snow picture of blinding 
storms; of heroism; of physical encounter and it 
contains without question as great a fight scene as 
ever caught before in a motion picture. 

It has story value; a big, well-known cast and 
extremely powerful direction by Jaccard. 

Book it now. 


A WEST COAST FILM CORPORATION PRODUCTION 




September 9, 1922 


MOVING PICTURE WORLD 


85 






-—and not a 
foot to spare/ 



For weeks the Selznick production 
force has labored tirelessly in an effort to 
reduce its newest and greatest Owen 
Moore feature to a maximum of 5,000 
feet of film. 

Every situation not absolutely necessary 
has been eliminated-every incident short- 
ened to its limit. Even the titles are 
confined to a minimum of footage. 

And still there remains 6,500 feet of 
film fun with not a single “frame” to “cut”. 


That is but one indication of the big- 
ness of 


LEWIS J.SELZNICK'S 

Tow Is An 
Awful Thin# 

staiTinft Owen Moore 

by Victor Heerman- A Victor Heerman Production 
With a splendid selznick cast including marjorie daw 


86 


MOVING PICTURE WORLD 


September 9, 192 1 



September 9 , 1922 M 0 V I N G P I C T U R E W 0 R L D 8 7 



88 


MOVING PICTURE WORLD 


September 9, 1922 



CLYDE COOK 


firs? release of the 
international 
^ comefiaro 


torrid tale of 4Bl 
the frozen 3 £ I 

North 


js INDEPEN DENC 

[ ^STRENGTH 


°tl)illiani 


AL ST JOH*t 


comedy in Z ads & 

J! laugh in 
et)er$ frame 


'Jfe’s a ddecWe 
man 


September 9, 1922 


MOVING PICTURE WORLD 


89 



90 


MOVING PICTURE WORLD 


September 9, 1922 




HERE ARE THE REASONS 


It is independent, with no strings attached to it. Its 
one big consideration is to get the picture that enter- 
tains. Expense is secondary. 

Its camera staff is greater than all the other news 
reels combined. More than 2000 cameramen in all 
parts of the world work for it day and night. 

Its editorial staff is composed of newspaper men of 
long experience, who know what NEWS is and how 
to present it. 

Its methods of shipment, via airplane, etc., makes 
FOX NEWS the first on the screen with every im- 
portant news happening. 


RELEASED EVERY WEEK. 



Iflllg 


5 It has the record of more exclusive pictures and 
news beats than all other news reels. Some of its 
outstanding exclusive features are : 

First Flight Over Vesuvius in Eruption. 

Pictures of Bandit Villa Back on the Farm. 

Air Flight Over the Mexican Volcano Popocatepetl. 

Picture of German Crown Prince in Exile. 

Pictures of Pope Pius at Eucharistic Congress. 

First Flight Over the Grand Canyon. 

6 Because of its large and able staff no important 
news event can escape FOX NEWS. 

7 It has expert cameramen from the home office look- 
ing for the unusual and the unique all over the globe. 


FOX FILM CORPORATION 



MOVING PICTURE WORLD 


91 


September 9, 1922 


PEL-LOW CIT-I-ZEN5:-) 



IhSdEPENDENCI 
f STRENGTH 


HERE WE ARE AGAIN! THERE'S JUST ONE PLANK IN OUR PLATFORM - 
FUNNIER PICTURES. TO DO A THING RIGHT TAKES TIME, SO WE ARE GOING 
TO DO HALF AS MUCH AND DO IT TWICE AS WELL. WE'VE BEEN WORKING 
DAY AND NIGHT, FIFTY TWO WEEKS INTHE YEAR. NOW WE KICK WF’RF 
TIRED OF DOING FIFTY TWO CARTOONS A YEAR WE WOULD "oiJIT 
WORK ENTIRELY, BUT WE SAW A LQT OF LETTERS ON THE BOSS* DESK 
TELLING HIM HOW GOOD WE ARE. THEY'RE RIGHT 1 . WE AGREE WITH 
THEM. SO WE TALKED IT OVER WITH WILLIAM FOX AND WE FIGURED 
WE COULD MAKE OUR EXHIBITOR FRIENDS HAPPY IF WE TOOK PA rn 
INDIVIDUAL CARTOON AND SPENT TWICE AS MUCH timb EACH 

FUTURE WE ARE GOING TO GIVE YOU TWENtTs.X ' T ‘ IN THE 

- evewot^r wee™'" 

'Nth F muttand A j N eff E - . 

p OR US TO MAKE YOUR AUDIENCE / 
HAPPY WITH CARTOONS - ^ 

WITH A KICK 


I 


92 


MOVING PICTURE WORLD 


September 9, 1922 


AM HOMEST-TO-COD 
PRODUCTION ! 



Is the fastest booking picture 
on the market to-daii 

Dislnbuied . by 

AL-LICHTMAN 

C ORPORATI O N 

576 FIFTH AVENUE ( ^)NEW YORK CITY 




93 


9 1922 MOVING PICTURE WORLD 

T S A BOX-OFFICE TORNADO 

TVToving Picture IAIorld 

B.P. Schulberer 

PRESENTS ^ 

A GASNIER PRODUCTION 

'Rich Mens Wives" 

‘'While New York crowds’ of Midwinter proportions were storming the Capitol 
Theatre in Mid-August weather, the Trade Press Critics paid this splendid pro* 

duction the very highest tributes. 


One of the Outstanding Attractions 

Martin J. Quigley, editor and publisher of the 
Exhibitors Herald, wrote: 

“ ‘Rich Men’s Wives’ is a valuable addition to the 
list of big pictures of the current season. 

A1 Lichtman launches his distributing organization 
with a Gasnier production which is entitled to recog- 
nition as a first rate attraction in every important 
aspect. It is a lavishly and effectively produced so- 
ciety drama. It is enacted by a singularly fine cast. 
IT IS ONE OF THE SEASON’S OUTSTANDING 
ATTRACTIONS.” 


Head and Shoulders Above Others 

From the Exhibitors Trade Review: 

“The quality which lifts it head and shoulders 
above the ordinary photoplay is the tremendous 
amount of sympathy it creates for the suffering 
young mother and her pretty baby boy. Has a de- 
cided commercial value. ‘Rich Men’s Wives’ is re- 
freshingly free from the slushy striving after effect. 
The picture gathers force as it proceeds. Such scenes 
as that in which the baby boy kisses his outcast 
mother through the glass door brought tears to the 
eyes of the huge audience which packed the big 
Capitol Theatre during its initial showing, and there 
were many moments when the sympathy of the crowd 
was expressed loudly, a sure test of the heart inter- 
est striking right home. Artistically, the picture is 
a treat.” 


Looms up like a Million Dollars 

Roger Ferri, in Moving Picture World, said: 

“A1 Lichtman made certain promises to the ex- 
hibitors of the country that he would strive to give 
them pictures that would fatten box office receipts. 
And he has wasted no time in fulfilling that promise, 
for in the first release of the A1 Lichtman Corpora- 
tion, ‘Rich Men’s Wives,’ he has a picture that will 
compare favorably with the best in the business. 
It’s sure-fire material that he has given the theatre 
owners in this production, which is luxurious in set- 
tings, and valuable in cast and story. Whatever 
superlative claims you make for this feature will be 
substantiated by the picture itself, for it has every- 
thing — pathos, humor, thrills and romance. This 
picture can be shown at the ‘blue blood’ houses and 
at the so-called small town theatres, and go over like 
a tornado. As a production, it looms up like a million 
dollars, elaborate, pretentious and extensive in many 
ways. Go after this one tooth and nail.” 


A Woman’s Picture 

Laurence Reid, in Motion Picture News: 

“A womans picture — the mother love theme be- 
ing developed to stimulate the feminine sex. A good 
box office title likely attract the eye everywhere, 
a couple of good troupers in House Peters and Claire 
Windsor, and a society background charged with real 
atmosphere — these will be sufficient to make this 
picture popular wherever shown.” 


'RICH MEN’S WIVES* 


It's a Showman’s Picture, an Audience Picture and a Guaranteed 
Money Maker for Exhibitors' whose Patrons Demand the Best — 

Its a preferred picture 

Distributed b«/ 

AL-LICHTMAN 

C OR.P O RATI O N 


576 FIFTH AVENUE ( ) NEW YORK CITY 


94 


MOVING PICTURE WORLD 


September 9, 1922 


T. R. COFFIN PRODUCTIONS 

Announce the completion of releasing arrangements for 

STATE RIGHTS DISTRIBUTION 

for 

A Series of Special Feature 

CRESCENT COMEDIES 

of two reels each with 

ALL STAR CASTS 

Produced under the personal supervision of 

BRUCE MITCHELL 

through 

EAST COAST PRODUCTIONS, Inc. 

FRANKLYN E. BACKER, Pres. 


TERRITORIAL RIGHTS NOW 
BEING ALLOTTED 

First Four Releases Now Ready 

“Easy Picking” “Nobody There” 

“The Colorado Knight” “Follow Suit” 


WIRE WRITE PHONE 

EAST COAST PRODUCTIONS, INC. 

Times Building BRYANT 1351-1352 New York City 






in "Grandmas Boy" 



FOREIGN 

Sidney 


HIS LATEST., GREATEST 
AND LONGEST 5 
PRODUCTION 




Harold Lloyd in"G ran dma’s Boy 


E QUALLY acceptable in a vil- 
lage hall or the Throne 
Room of Buckingham Palace. — 
Bioscope , London. 

It is impossible to reproduce 
the smallest fraction of the praise, 
commendation, exultation, adul- 
ation with which Harold Lloyd in 
“Grandma’s Boy” already has 
been received. 

Up to August Is/ no theatre 
had opened it except for indefinite 
runs. No run had finished, al- 


though begun as long before as 
May 14th. 

A veritable tornado of endorse- 
ments has followed its every 
showing. 

More indefinite runs start dur- 
ing August and September, as 
well as shorter ones beginning 
with September. 

Don’t show this greatest com- 
edy feature of all time if your 
seats are in bad repair or if you 
and your staff do not want to work 
handling crowds. 


Now Booking For The Fall Season 





September 9, 1922 


MOVING PICTURE WORLD 


95 


HODKINSON 

P I CTU RE S 


The Practical Fulfilment 
of a Picture -Ideal 


F OR the first three months of the new 
season, the W. W. Hodkinson Corpo- 
ration makes one of the most impor- 
tant announcements in its history — an an- 
nouncement that constitutes in a practical 
manner the fulfilment of a picture ideal. 

In presenting the features and short sub- 
jects listed on the succeeding pages, we 
have sought to give expression to the sense 
of responsibility which we have always felt 
toward the Exhibitor, a responsibility that 
begins with good product and ends only 
when the full service implied by a HOD- 
KINSON CONTRACT has been faith- 
fully and expeditiously performed. 

That the Hodkinson policies have met 
with the full recognition of the Exhibitors 
of the country is best evidenced by senti- 
ments such as the following which are con- 
tinually making their appearance in the Box 
Office Records of the trade press. They are 
typical of the Exhibitor-attitude toward 
Hodkinson product and Hodkinson service : 


“Hodkinson Pictures are the talk of Bristol. We have 
never had a poor picture or a poor film since we began 
receiving prints from your Boston office.” 

William F. Eddy, 

Star Theatre, 

Bristol, R. I. 

“All Hodkinson Pictures are good, and their prices are 
right. They don’t ask you to give them a share of the 
theatre to pay the rental.” 

Charles Holtz, 

Princess Theatre, 
Danforth, Me. 

“I find all Hodkinson’s are above the average.” 

J. E. Higgins, 

Majestic Theatre, 
Cullom, Ills. 

“The fine condition of Hodkinson prints invariably 
makes it safe to run them even a bit old.” 

Fred. Hinds, 

Cresco Theatre, 

Cresco, la. 

“Hodkinson paper and photographs show up well.” 

A. S. Kelsted, 

Rialto Theatre, 

Hood River, Ore. 


“Have played a great many Hodkinson Pictures, and 
each one has proved to be a good attraction.” 

R. H. Durham, 

Mission Theatre, 

Mt. Vernon, Wash. 

“Hodkinson Pictures are the most satisfactory, clean 
and entertaining, and at a price, too, exhibitors, that 
enables you to make money.” 

L. L. Connor, 

Victory Theatre, 
Cambridge, N. Y. 


And so we might go on for many pages. 
It is significant that not only have Hodkin- 
son Pictures demonstrated their audience- 
values, but when the Exhibitor goes out of 
his way to mention the condition of prints, 
the square-dealing prices and the effective- 
ness of paper and accessories, it is proof 
positive that he is getting more than so 
many feet of film when he buys a Hodkinson 
Picture, that an element of service goes 
with the sale which makes for satisfaction. 

W. HODKINSON CORPORATION 
469 Fifth Avenue, New York 



■■i 




Renco Film Company 


from the famous story 
Spinner in the Sun, " hip 


MYRTLE REED 


inarauerUc Snow 

- . DihtcivJ oy . 

Lloyd Ingraham, 



HUGO BALLIN 


PEOPLE 

featuring 

MABEL BALLIN 


featuring 


and, 

PERCY 

MARMONT 


ONE OF THE BEST 


GET THIS ONE 


Class A-b. (Superior). One of 
the most interesting of modern 
screen achievements. 

Screeri Opinions 

The picture is almost flawless. 

The Morning Telegraph 

There is easily enough drama 
with its accompanying love story 
to keep spectators firmly interest- 
ed throughout. 

Moving Picture World 

A very unusual picture. Gets 
away from the general run of 
picture theme. 

The Film Daily 

Screen entertainment of the best 
and highest grade. Exhibitors 
should find this production a 
valuable treasury aid. 

Exhibitors Trade Review 




Class A-c (Excellent). This pro- 
duction may be classed among 
the best of the year. A high class 
feature that will be enjoyed by 
all. 

Screen Opinions 


The picture holds the interest 
and has the quality that will 
attract. 

The Morning Telegraph 

Mr. Ballin has provided his usu- 
al finished and artistic produc- 
tion. Audiences will be pleased 
with “Married People” and you 
have a title with good exploita- 
tion possibilities. 

The Film Daily 

Mr. Ballin’s direction soars high 
above any of his other efforts. 

Exhibitors Trade Review 








SLIM 

SHOULDERS 

jfrom the story by," 

Charles K, Harris 

Dire abed by . 

iAlan Crosland 


From the great noi/el Iry- 

CIARA LOUISE BURNHAM 

with 

Robert M s Him - Claire Mams 

and Carl Qanbvoorb 


Produced by Ben/ A Hampton, 
and his associates 'or 

(/rent /hi lb or s he. • 

• 


; 


A SURE MONEY MAKER 

One of the nearest approaches to 
thorough satisfaction an exhibit- 
or in any locality might be able 
to get hold of. 

Exhibitors Trade Review 


WILL MAKE GOOD 
ANYWHERE 

Class A (Very Good). 

A picture that holds inspiration. 
Wholesome and entertaining. 

Screen Opinions 


The kind of picture which the 
public will enjoy thoroughly. 

Morning Telegraph 


This picture will have a tremen- 
dous appeal. 

Exhibitors Trade Revieiv 



Exudes a wholesomeness sure to 
be appreciated. 

Motion Picture News 

The picture is well made. A 
finished piece of work. 

The Morning Telegraph 

Will interest many. A very in- 
teresting feature. Should prove 
a sure-fire success. 

The Film Daily 


Good to look at from start to 
finish. One that you can rely 
upon to please. 

The Film Daily 

Eclipses anything the star has 
appeared in. 

Motion Picture News 


Should have universal appeal. 

Flarrison’s Reports 


98 


MOVING 


PICTURE 


WORLD 


September 9, 1922 




hodkinsonI 


Ward Lascelle 

jyreserrf? 


Prom the popular story jby 

MARY ROBERTS RINEHART 

/e<x£urin.y 

COLLEEN 
MOORE 

and] OHN BOWERS 


1000% ADVERTISING VALUE 

“Affinities” is an ideal showman’s 
picture. It’s a rip-snorting comedy- 
drama tremendously rich in enter- 
tainment values. 

It was written by Mary Roberts 
Rinehart, the author of “Affinities,” 
whose books are known to millions. 

It has Colleen Moore, one of the 
great shining lights of today’s galaxy 
of popular screen stars 

It has John Bowers, that versatile 
young actor, who has climbed to such 
heights of popularity that his name 
has become a great power at the box- 
office. 

“Affinities” has all those values that 
go to make a big money maker. 




C.S. Clancy 

HEADLESS 
' HORSEMAN 

/eakuri/uj 

WILL 

ROGERS 

Adapted Prom 

U/ashing ton Irvings 

Qreat C/assid'LegencL 
of Sleepy Hollour' 


BOX-OFFICE DYNAMITE 

Here is one that is guaranteed to 
get them in. 

Exhibitors! Look at the DYNA- 
MITE TRIO you have in this produc- 
tion to assist you in making some easy 
money. 

WILL ROGERS, one of the most 
popular characters on the stage today 
and the big star of the nationally- 
known Ziegfeld Follies, and also one 
of the sure-fire drawing names of our 
industry. 

WASHINGTON IRVING, whose 
classics are to be found in every nook 
and corner of the universe. 

“THE HEADLESS HORSEMAN.” 
that mysterious, terrifying spectre of 
the “Legend of Sleepy Hollow” that 
caused one of the best-known charac- 
ters of fiction, Ichabod Crane, so many- 
uneasy moments. 

Man alive! Here is a picture that 
will pull them in rain or shine. 



September 9, 1922 


MOVING PICTURE WORLD 


99 






Ward Lascelle 

presents 


.f . ". y 

» 


MIND OVER 
MOTOR' 

featuring 

TRIXI E FRIGANZA 

from, the story bg 

MARY ROBERTS 
% RINEHART 


PACKED WITH LAUGHS 
“Mind Over Motor” is one of the 
famous Mary Roberts Rinehart 
“Tish” comedies that became tre- 
mendously popular through the me- 
dium of the Saturday Evening Post. 
Very few writers of today have such 
an enthusiastic following as Mary 
Roberts Rinehart. 

Her name has become a powerful 
box-office factor in the moving picture 
business. Additional advertising value 
has been added to “Mind Over Motor” 
through the selection of Trixie Fri- 
ganza, who plays the lead in this 
exceptionally amusing photoplay. 
The American public from Coast to 
Coast remember Trixie Friganza as 
one of the greatest comediennes that 
ever graced the musical comedy stage. 

With a good picture and two such 
business getting names, exhibitors 
are assured of more than satisfactory 
returns at the box office. 


HODKINSON 





| 

I 


■ 


BUILD BETTER 
PROGRAMS * 


TRIART PRODUCTIONS 

Heralded in every section of thecoun- 
try as the finest two-reelers ever made. 

“The Beggar Maid,” — “The Bash- 
ful Suitor” — “The Young Painter” — 
“Hope” featuring Mary Astor. 

TECHNICAL ROMANCES 

The foremost novelty to make its 
appearance in several seasons. All of 
one reel length. 

BRAY COMEDIES 

New adaptation of the animated 
cartoon idea. A combination of car- 
toon and straight action photography. 
All of one reel length. 

FUN FROM THE PRESS 

Consists of the wit and humor of 
the world as compiled by one of Amer- 
ica’s leading weeklies, LITERARY 
DIGEST, and the only reel sponsored 
by them. One reel a week. 

DAYS AFIELD WITH ROD AND GUN 

Six, one rteel specialties, prepared 
under the supervision of Eltinge 
Warner, publisher of “Field and 
Stream.” A series of sport pictures 
that will delight everyone. 


I 



100 


MOV! .V G PICTURE WORLD 


September 9, 1922 




When t he man who pays for 


the film talks about your goods as 
this exhibitor does, what other argu- 
ments are necessary ? 


T his is only one of the scores of glowing expres- 
sions of praise from showmen who have played 
this box-office sensation of 1922 for a GRAND 
CLEAN-UP. Others in the same enthusiastic strain 
are pouring into F. B. O. headquarters. They tell of 
ammed theatres, of shattered box-office records, of 
surging mobs storming the doors, halting traffic to 
pay their money for tickets to the GREATEST 
SCREEN SHOW of the year. 

Wise old “Variety” had this to say about the en- 


gagement of “In the Name of the Law” at the 
Empire Theatre. Syracuse: “The film was dedicated 
to Chief of Police Cadin, the Commissioner of Public 
Safety and his men. The idea worked to the extent 
that the house uas forced to lock ’em out Sunday 
night” You, Mr. Showman, can DO IT TOO! 

Records blown to atoms EVERYWHERE. Detroit over- 
whelmed : F ort Wayne rocked and shaken : Cincinnati stormed : 
Los Angeles knocked for a goal; New York City ripped and 
torn asunder by the GREATEST EXPLOITATION CAM- 
PAIGN IN THE HISTORY OF THE SHOW BUSINESS! 


See the Picture— see the sensational tieups and exploitation 
then get a copy of the amazing press book and sell yourself 


Now Cleaning Up for the Biggest Houses 
Throughout the Entire Country 


Unquestionably the Most Sensational Money Getter of the Season 



Film Booking Offices of America — Main Offices F. B. O. Building 





723 Seventh Avenue, New York — Exchanges Everywhere 



102 


September 9, 1922 


MOVING PICTURE WORLD 


DOROTHY GISH 


IN 


THE COUNTRY FLAPPER 

Now Available for Exhibitors 
at Following Exchanges 

NEW YORK 

COMMONWEALTH FILM CORP. 

( Greater New York and Northern New Jersey ) 

BUFFALO 

NU-ART FILM CORPORATION 

( Northern New York ) 

BOSTON 

EASTERN FEATURE FILM CORP. 

( New England ) 

NEW ORLEANS 

PIERCE FILMS, INC. 

{Louisiana, and Mississippi ) 

LOS ANGELES 

J. L. MERRICK 

{Southern California and Arizona) 

SAN FRANCISCO 

J. L. MERRICK 

{Northern California and Nevada) 

MILWAUKEE 

WISCONSIN FILM CORPORATION 

{Wisconsin) 

MINNEAPOLIS 

FIRST FILM COMPANY 

GLENN HUNTER AND DOROTHY GISH {Minnesota and A orth and South Dakota) 

Unusual care has been taken in selecting these Distributors. Other 
Territories will be assigned and announced as selections are made. 

Send Applications for Territory Promptly to 

Producers* Security Corporation 

516 5TH AVENUE, NEW YORK 




September 9, 1922 


MOVING PICTURE WORLD 


To the Independent Producers 

of Motion Pictures 

offering services not hitherto available 


Distribution 

Our intimate acquaint- 
ance with all phases of 
distribution — national, 
independent or state- 
rights — enables us to 
place your product at 
the most advantageous 
terms and with the ut- 
most protection. 


Field Selling 

Our organization in the 
field will undertake a 
new and vital service 
for independents by 
watching every first 
run situation and as- 
sisting the local ex- 
changes in placing the 
product advantageous- 
ly, and 1 in following up 
unsold territory. 


Auditing 

With a thorough 
knowledge of values, 
we will approve con- 
tracts, enforce play 
dates, and with a com- 
petent auditing staff in 
the field, we will check 
up every exchange to 
the end that our clients 
may obtain their due 
revenue from each 
booking. 



LEST you DO MOT KMOW— 

Alexander S. Aronson, bvho 
pioneers this thorough and 
long-needed service, has had 
a most extensile and intensive 
experience in all phases of mo- 
tion picture distribution. 

S OME nine years ago he became asso- 
ciated with the WORLD FILM 
CORPORATION, confining activi- 
ties at different times to their producing 
and distributing divisions. 

Thereafter he organized, with others, 
REGAL FILMS of CANADA, and sub- 
sequently GOLDWYN PICTURES, 
LIMITED, also of CANADA. 

Three and a half years ago he joined 
Goldwyn in the United States and con- 
trolled their distribution from Denver 
west. 

In December, 1920, he became General 
Sales Manager and Vice-President of the 
GOLDWYN DISTRIBUTING CORPO- 
RATION, from which duties he volun- 
tarily resigned this year. 


Exploitation 

We will have on our 
staff competent people 
to thoroughly exploit 
your product in impor- 
tant key cities, and to 
cooperate with the ex- 
ploitation departments 
of the distributors. 


Foreign Department 

Our foreign division 
will place product so 
that our clients may 
obtain the maximum 
benefit from foreign 
sales. Where product 
is disposed on World’s 
Rights, this department 
will be an invaluable 
aid in determining the 
Foreign value. 


Star Appearances 

We will maintain a de- 
partment to book stars 
or featured players, 
either with or without 
film, obtaining the most 
advantageous business 
arrangements. 


Every Department will be under my personal supervision 


Alexander S. Aronson 

(LOEW BUILDING) 

1540 Broadway, New York 


TO WEST COAST PRODUCERS 

Within the next three weeks Mr. 
Aronson will be in Los Angeles. 
Write or wire now to arrange in- 
terviews when there. 


These services as a whole or in part, 
as you require them, are available at 
a price you can afford to pay either 
on a flat basis or percentage arrange- 
ment. They can be applied to pro- 
duct already released as well as to 
product contemplated for release. 







Fresh news every week 


“HURRICANE’S GAL” 

Starring the beautiful Dorthy Phillips 
and produced under the direction 
of Allen Holubar 

Excellent Business 

D. J. Shepherd, Branford Theatre, Newark, 
N . J ., says: 

“ ‘Hurricane’s Gal’ was very well received 
and the audiences were enthusiastic. Did ex- 
cellent summer business in extremely hot 
weather. It’s a very good audience picture.” 

Phenomenal Business 

Dave Bershon, West Coast Theatres, wires 
from Los Angeles as follows: 

“Did phenomenal business at the Kinema, 
despite summer heat and summer resort exo- 
dus. Bound to please audiences everywhere, 
and we expect reports of big business from 
all over our circuit. It is there 100 per cent.” 

Best Ever Played 

T. J. Eslick, Hope Theatre, Dallas, wires: 

“Best audience picture I have ever played. 
It has everything, and made splendid record 
here.” 


example of persuasive acting almost conceal- 
ing the fact that Sennett had the sawdust all 
out of the doll and scattered on the floor.” 

Excellent Play 

H. J. Longaken, Howard Theatre, Alexandria, 
Minn., says: 

“Excellent entertainment from beginning to 
end. For four and a half reels the audience 
applauded and laughed heartily ; then, wow ! — 
one and a half reels of thrills and real melo- 
drama that caused one to hold on to the seat, 
and a climax that sent them out chattering and 
praising the show. All seemed well pleased 
and if they had not been I would have felt like 
calling the coroner. This class of features will 
put the motion picture back on the map. 
Characterization good ; photography good. In 
all, a dandy show.” 

Extraordinary Business 

W. M. Smith, Rialto Theatre, Tulsa, Okla., 
says: 

“No need for exhibitors to operate their the- 
atres at a loss during the hot weather when 
pictures like this are available. Business ex- 
traordinary.” 


Sure Money Getter 

W. C. Patterson, manager of the Metropolitan 
Theatre, Atlanta, wires: 

“A sure money getter, alive with incidents 
and unusually thrilling. Most satisfactory.” 

THE CROSSROADS OF NEW YORK 

Mack Sennett’s latest big comedy- 
drama feature, starring Mabel Nor- 
mand, is making the money. 

Seldom Equaled 

The Chicago Tribune in its editorial columns 
says: 

“From his cast Sennett produced acting 
which is seldom equaled on the screen, acting 
such as made the ‘Four Horsemen’ distinctive. 
By this acting he created an effect of probabil- 
ity and plausibility. 

“One by one he invaded the choice fields of 
movie emotion and activity, and in each case 
he made his satire better in acting and in em- 
ployment of effects than the movie standard 
against which his satire was directed. When 
he touched the emotional absurdities of the 
movies it was done so deftly that it was an 


“SONNY” 

Richard Barthelmess in an Inspiration 
Picture, directed by Henry King. 

A Big Success 

J . A. Flournoy, Criterion Theatre, Macon, Ga., 
says in a report to the Exhibitors’ Herald: 

“ ‘Sonny,’ with Richard Barthelmess — most 
successful picture we have had since ‘Smilin’ 
Through,’ which was a record breaker for 
popularity.” 

An Absorbing Play 

The New York Evening Telegram says: 

“A story truly human and realistic — absorb- 
ing — played in a marvelous way by Barthel- 
mess. It is unusual and genuine.” 

Very Stirring 

The Nezv York Herald says: 

“A rare film flower, more stirring than 
‘Flanders Poppies,’ for it is the expression of 
a personality.” 

“Sonny” Is A-No. 1 

Mrs. Frank Paul. Marvel Theatre, Carlinville, 
111., reports: 

“ ‘Sonny’ and ‘Tol’able David,’ with Richard 



31 real box 

Barthelmess.— It’s a pleasure to show pictures 
like these. A-l in every respect, and we re- 
ceived nothing but compliments. Barthelmess 
great. Also think Pauline Garon in ‘Sonny’ 
a coming star.” 

Strikes Into Heart 

The Cincinnati Enquirer says: 

“It strikes deep into the heart. It is easily 
Barthelmess’ best role, better even than 
‘Tol’able David.” 

Worthy of Hall of Fame 

The Philadelphia Enquirer says: 

“A picture that is worthy of enshrinement 
in a permanent Hall of Fame for Photoplays. 
Richard Barthelmess holds the audience in the 
hollow of his hand. He brings the tear to the 
eye and causes hearty laughter.” 


“ONE CLEAR CALL” 

A John M. Stahl production, presented 
by Louis B. Mayer 

Plays to Capacity 

W. M. Smith, Rialto Theatre, Tulsa, Okla., 
wires: 

“ ‘One Clear Call’ opened to capacity, and 
on this, the sixth day, is still drawing big 
houses. This is remarkable, considering the 
weather, which is exceedingly hot. Patrons 
generally enthused, and it is considered one 
of the year’s best pictures. Any exhibitor 
who can not clean up with this one better 
close his theatre. The newspapers here 
voted it a film masterpiece, and one of the 
best made in four years.” 

Best Box Office Film 

U. K. Rice, Piedmont Amusement Co., Win- 
ston-Salem, N. C., writes: 

“We have just finished the showing of 
ONE CLEAR CALL, and I do not hesitate 
saying that it is one of the very best pictures 
of the year. This is not only my own per- 
sonal opinion, but the remarks of our patrons 
leaving the theatre substantiate it. It 
pleased our patrons as much or more than any 
other this year, and as a box office attraction 
it was the very best. Mr. Sams stated this 
evening that it is the first picture he has taken 
the time to sit through from the opening title 
to the end, and in his opinion is the best thing 
since ‘The Birth of a Nation.’ ” 


office gauge 

Real Picture Art 

R. St. John, First National Theatre, Sylacauga, 
Ala., zvrites: 

“We want to congratulate you on this pic- 
ture. Our patrons were carried away with it 
and we recommend it strongly to those desir- 
ing real picture art.” 

Well Worth Booking 

J. Carbonell, Monroe Theatre, Key West, Fla., 
says, as quoted in the World: 

“A picture worth booking. Scenario good; 
acting superb.” 

“FOOLS FIRST” 

A Marshall Neilan production, taken 
from the story by Hugh MacNair 
Kahler. 

Something Unusual 

The Los Angeles Examiner says: 

“Here is something unusual — an interesting 
picture. Sharply clever and impressive bits 
of directorial genius. The acrid touches of 
humor, the gorgeous photography, make 
‘Fools First’ a brilliant production.” 

Sure-Fire Drama 

The Omaha World Herald says: 

“There are sure-fire situations in ‘Fools 
First.’ It is highly entertaining. A typical 
Neilan picture, well cast, well directed, splen- 
did sub-titles, good plot, interesting character 
portrayals, plenty of suspense, unusual.” 

Has Big Wallop 

The Los Angeles Daily Times says: 

“ ‘Fools First’ carries a big wallop. Pictures 
are pictures, but Neilan pictures are generally 
something better than a mere string of pretty 
scenes. They’re an interpretation of an idea. 
They inveigle you into thinking that you’re 
watching something really happen, instead of 
looking at a movie. 

“What particularly allures a blase photoplay 
fan about ‘Fools First’ is the tempo. The 
whole of the action moves swiftly, and with 
lots of surprises, toward a very satisfying ob- 
jective — regeneration. 

“We rate the acting as top-notch. The best, 
we take it, is by Claire Windsor as Ann Whit- 
taker, the character portrayal of Claude 
Gillingwater, some dramatic moments of Ray- 
mond Griffith, and the sincerity of Richard 
Dix.” 



106 


MOVING PICTURE WORLD 


September 9, 1922 


One of the Few Pictures Held For 
Second Week’s Run at N. Y. Strand! 



The New York Mail says: 

“ ‘The Masquerader’ proved so popular 
at the Strand Theatre that the man- 
agement prolonged its engagement a 
second week.” 


Richard Walton 

TULL Y’S 

great production which road- 
showed six years to record 
crowds in every city, town and 
hamlet in the country. Taken 
from the famous novel by Kath- 
erine Cecil Thurston and the 
stage success of John Hunter 
Booth. 


Directed by 

JAMES YOUNG 


A First National 
Attraction 


It’s Making Box Office History! 


Founded 1907 
by J. P. Chalmers 


Vol. 58, No. 2 
Sept. 9, 1922 


Moving' Picture 

WORLD 


A Good Job Well Done 


W E have just come across — perhaps belatedly 
—a manual issued by the M. P. T. O. A. The 
title is “Public Service Work in the Motion 
Picture Theatre.” 

And, we are surprised. 

Your average film man — and we belong in that 
classification — spends a large part of his time say- 
ing, “This ought to be done,” “That ought to be 
done.” 

With the result that he is rather taken aback 
when his eye encounters an “ought-to-be” that is 
being done. 

* * * 

“Public Service Work” is a sonorously impres- 
sive phrase that may, to some extent, hamper the 
good intended by the movement. 

It is very likely that thousands of exhibitors have 
not seen this manual — and that a good proportion 
of those who have received a copy passed it bv with 
only cursory thought. 

Which is the “reason why” of these words. 

The manual is something which should be in the 
hands of every exhibitor. And once in his hands 
it is a business talk that he should read closely and 
absorb thoroughly. “ABSORB” — not merely read. 

No treatise on such a subject can be expected to 
serve as a working tool in the sense that it will pro- 
vide specific instructions to be followed by every 
manager in every town. 

But a manual that will inspire the theatre man to 
a desire to make his playhouse a vital community 
force, instructions that will at least start his own 
mind working out adaptations to fit local conditions 
— this manual will have accomplished all that can 
be expected. 

And this the M. P. T. O. A. booklet does. 

* * * 

The compilers place Public Service Work before 
the exhibitor as an OBLIGATION. In these words : 
“Motion picture theatre owners are custodians of 
the screen press, relatively as much a factor in the 
life of every community as the church, the school, 
arid the newspaper, and equally responsible to the 
people for such measures of public service as their 
screens, may be able to provide. 

“Because of this close community association 
every motion picture theatre owner is morally 


bound to do everything within his or her power to 
advance the interests of the public and extend help- 
ful co-operation wherever possible to all other 
service elements in conserving the welfare of the 
nation, state and community.” 

The DUTY of the theatre in responding to its 
opportunities for community service is thus well 
put. 

But we can afford to be frank. 

And in such a cause we can well admit that there 
are strong SELFISH reasons for every picture 
theatre to bend its utmost effort towards public 
service. 

* * * 

One of the selfish reasons is an indefinite one 
bearing on the relations of the whole industry 
towards the public. 

It is this: 

The more the screen identifies itself with local 
and national public service, the more it becomes an 
aid to school, church and civic authorities — the 
sooner will the general public come to look upon the 
screen as identical with the press. 

And entitled to— THE FREEDOM OF THE 
PRESS. 

This is one point. An important one. 

There are other selfish objectives. The standing 
of the average small town theatre in its community 
is a peculiar one. Too often it is entirely dependent 
on the standing of the proprietor BEFORE he be- 
came a theatre man. If he was a part of the com- 
munity then — he is now. If not — he is “the theatre 
man.” 

These are unpleasant facts — but true of too many 
towns. 

The general patronage of the small town theatre 
is affected by this attitude, his banking and com- 
mercial relations are affected, and his position is 
serious when he is selected as a target by the local 
reformers. 

Public Service Work — day in and day out, in sea- 
son and out, is the prescription that can heal that 
sore spot. 



108 


MOVING 


PICTURE WORLD 


September 9, 1922 


Editorial Personalities 


A miracle has occurred ! 

New York is witnessing a particu- 
larly sordid murder case. Some of the 
participants are connected with the 
motion picture industry in about the 
same manner that a ribbon counter 
clerk could be proclaimed “A leading 
drygoods merchant.” 

A young lady appeared in the case 
several days ago and basked in the 
glory of headlines proclaiming her a 
“Pretty Moving Picture Actress.” 
Then — on Wednesday morning, the 
miracle ! 

We picked up a copy of the New 
York American to read this in the dis- 
play type. “Alice Thornton, Never in 
Movies — Was a Filing Clerk.” 

Ye gods ! 

There in cold type — the truth. What 
a daring city editor to cast from a Park 
Row window the darling phrase, 
“Pretty Moving Picture Actress.” 

But while on the subject we might 
say that while the other papers have 
stopped referring to the girl as a screen 
beauty none but Mr. Hearst’s morning 
and evening papers came forth with a 
blunt statement correcting previous 
words. 


Charles McCarthy, of Famous Players, 
comes forth with a real idea. It is this: As 
long as there is any prospect of the serious 
coal situation assuming definitely serious 
aspects it behooves exhibitors to decide that 
this is the time to GO GET THE MONEY. 
“Set the big pictures in now,” says McCarthy, 
“and drive so hard in the good weeks that 
are coming between now and the first weeks 
of November that you will be ahead of the 
game no matter what happens.” 

Mention of William R. Hearst in our 
first paragraph leads us a step further 
to say that Mr. Hearst seems set to 
“show ’em” this year and gives every 
sign of succeeding in his object. 

The good notices “The Young Di- 
ana” has received are enough to start 
any producer’s season off with smiles 
and good cheer. But what we are 
waiting anxiously for is the first 
glimpse of “When Knighthood Was in 
Flower.” 

This Marion Davies feature is the 
pride of the Cosmopolitan organiza- 
tion. You can’t talk to a member of 
the Hearst forces from George Utassy 
down without awakening a rush of 
enthusiastic description of the “million 
dollar Davies special.” 

First we took the propaganda with 
at least a handful of salt. Then we 
heard a little more — and a little more. 
And the latest we hear is that Hearst 
has engaged the Criterion Theatre in- 
definitely to house the Broadway run 
on “When Knighthood Was in Flower.” 

Joseph Urban, whose artistic genius 
is given to all Cosmopolitan produc- 
tions, is going to step in the front door 
of the Criterion and start working un- 
til he goes out the stage door. The 


house, we understand, is going to be 
transformed to be entirely in harmony 
with the big special. 

Too many signs of absolute belief in 
that production. We’ve thrown away 
the salt — and now we’re just waiting. 


J. D. Williams isn’t sailing for Europe after 
all. Just a false report. But at least we 
know that he has got as far as Sheepshead 
Bay. Bumped into him last Thursday play- 
ing “Daddy Longlegs” to a lively gathering 
of the First National home office employees. 
Europe’s too far away, especially at a time 
when some big things are being cooked up 
by the Williams, Schwalbe, Rowland trio. 
Might as well cast modesty aside to tell 
you that J. D. says The World is getting 
better with every issue. 


We have a suspicion that many ex- 
hibitors, reading the trade paper re- 
views these days, have formed the 
impression that the critics must be 
slipping badly. Inclined to find every 
picture a good picture and few harsh 
enough to unsling the sharp-pointed 
adjectives. 

We checked the matter over our- 
selves the other day. 

And here’s the truth: 

Pictures this Fall are too gol durned 


Moving' Picture 

WORLD 


PUBLISHED WEEKLY BY 
CHALMERS PUBLISHING COMPANY 

516 Fifth Avenue, New York City 
Telephone: Murray Hill 1610 
Branch Office: 

Chicago, 28 East Jackson Boulevard 

John F. Chalmers, president; Alfred J. Chal- 
mers, vice-president; James P. Chalmers, Sr., 
vice-president; Eliza J. Chalmers, secretary 
and treasurer, and Ervin L. Hall, business 
manager. 

Editorial Staff: Robert E. Welsh, editor; 

John A. Archer, managing editor; Epes Wln- 
throp Sargent, exploitation; F. H. Richard- 
son, projection; E. T. Keyser, equipment; 
Fritz Tidden, reviews; Roger Ferri, indepen- 
dent productions, C. S. Sewell, producers news 
and A. Van Buren Powell, Straight from the 
Shoulder Reports. 

Manager of Advertising: Wendell P. Mil- 

ligan. 

Manager of Circulation: Dennis J. Shea. 

Subscription price: United States and its 
possessions, Mexico and Cuba, $$.00 a year; 
Canada, $3.50 ; foreign countries (postpaid), 
$10.00 a year. 

Copyright, 1922, by Chalmers Publishing 
Company. 

Copyright throughout Great Britain and 
Colonies under the provisions of the Copy- 
right Act of 1911. (All rights reserved.) 

Other Publications 

Cine Mundlal (Spanish). Technical Books. 



Member Audit Bureau Circulations. 
Member National Publishers Association. 


good. That is, too good to allow a re- 
viewing department to stand up and 
valiantly slam a few heads. 

Gosh, but it is almost getting dis- 
gusting, this procession of good pic- 
tures. One after another. And every 
time we think of some of the pictures 
that were outstanding last year, pic- 
tures we even went so far as to call 
“big,” and then look at this season’s 
output — we feel ashamed. 

There were pictures last year big 
enough in the general run to be called 
“specials” that wouldn’t even rank as 
average with this Fall’s crop. 

So don’t blame the reviewers, boys. 
They can’t help it if review after re- 
view reads like sugar and honey. 
Blame the pictures, boys. 


Here’# a batch: 

F. J. Godsol is visiting his Goldwyn studios 
at Culver City. 

George Kann, of Goldwyn’s foreign de- 
partment, has returned from abroad. 

Ralph Block, of the Goldwyn editorial 
staff on the Coast, has arrived in New York 
and with his arrival the news that he has 
resigned his post with that organization. 

Seems funny to write “George Kann, of 
Goldwyn.” The typewriter almost wrote 
“Universal” from force of habit created in 
those years, and years, and years — and years. 


Alexander S. Aronson’s announce- 
ment of his plans to co-operate with 
independent producers by offering an 
all-embracing service is of interest. 
Aronson is both likable and capable. 

And the Fates know the independent 
producer can use the sort of service 
promised by Mr. Aronson’s organiza- 
tion. 

No service can help the sort of inde- 
pendent who is an independent pro- 
ducer merely because he happens to 
know how to raise a bankroll — and 
knows not enough for someone to hire 
him. 

But the independent with real pro- 
ducing knowledge, ambition and sin- 
cerity can use a business service. The 
very qualities that insure his success as 
a producer are traits that prove handi- 
caps to him in trying to handle the 
multiplicity of business details in sales, 
distribution and exploitation. 

The result, when he tries to handle 
them, is that his productions begin to 
slip through not getting the attention 
that he is qualified to give them. 

And when the productions slip — all 
the service in the world won't help. 

So the wise producer is the man 
who says, “I am a producer. Now I’m 
going to look around for someone who 
is a DISTRIBUTOR and that’s his 
end.” 


Our most energetic news gatherer comes 
to us with an item. “Courtland Smith, of the 
Hays organization, is suffering an attack 
of Hay fever.” We disclaim responsibility. 
There it is as we got it. 


September 9, 1922 


MOVING PICTURE WORLD 


109 


Coal Crisis Threatens Theatres; 
Rap N. Y. Governor’s Program 


U NLESS the coal situation is 
settled within the next fort- 
night the theatres of this coun- 
try will be placed in the embarrassing 
position of either utilizing oil for heat- 
ing and operating purposes or closing 
by November 1. This statement was 
made in New York this week by show- 
men who appeared before the munici- 
pal and state committees appointed to 
deal with the possible coal shortage. 
The situation, however, was clearing, 
according to reports received late in 
the week at the offices of Will Hays 
and Sydney S. Cohen. In New York 
the situation is characterized by cer- 
tain theatre men as acute, but in other 
circles these reports are said to have 
been greatly exaggerated. 

The New York State Legislature 
convened in special session on Tues- 
day night, August 29, at the call of 
Governor Miller, to ascertain ways and 
means of distributing fuel in the event 
of a shortage. Aside from a general 
discussion of the possibilities of such 
a shortage nothing was done. Gov- 
ernor Miller’s program was bitterly 
attacked and the legislators indulged 
in a general game of high-powered 
finance. 

After an all-night session it was de- 
cided that the governor name a board 
to cope with the situation. Senator 


Play “II Guarani ” 

September 7 marks the date of 
the opening of the Brazilian Cen- 
tennial exposition, a big moment 
in the history of our sister re- 
public, and Franklin Adams, coun- 
sel for the Pan American Union 
in a letter to Sydney S. Cohen has 
requested that theatres play the 
overture “II Guarani” by Carlos 
Gomez, a Brazilian, in celebration 
of this event. 

We are glad to second this re- 
quest and urge exhibitors to co- 
operate in thus emphasizing the 
friendly relations between our 
country and Brazil; also to dis- 
play flags of the two nations. 
Remember the date, September 7. 

THE EDITOR. 


James J. Walker, of New York, spoke 
on the shortage as it would affect the 
theatres of the state, but nothing was 
done to meet any possible shortage in 
the fuel. As a result of this action, 
New York theatre owners are in a 
turmoil for lack of definite knowledge 
as to what to do. 

Late this week Mr. Cohen issued a 
statement from his offices in New 


York, in which he urged that the 
theatre owners co-operate with the 
officials in every way possible. Mr. 
Cohen was recently appointed a mem- 
ber of Mayor Hylan’s coal committee 
of Greater New York. A special meet- 
ing of this committee was held in New 
York on Tuesday in Commissioner 
Grover A. Whalen’s office, when it was 
definitely agreed that a special meet- 
ing of the Board of Estimate, of 
Greater New York, be called to enable 
the committee and others to make 
definite plans for emergency transpor- 
tation of coal in the event that the 
present carrying system should, in any 
way, fail to meet the necessary de- 
mand. 

Mr. Cohen’s statement follows, in 
part : 

“Giving the Motion Picture Theatre 
Owners of America representation on 
the mayor’s coal committee is an 
official recognition on the part of the 
government of Greater New York 
that the theatre is an essential indus- 
try and necessary for the welfare of 
the people. It is also a very distinct 
approval of our public service efforts, 
wherein the theatre owners co-operate 
in every way with public officials in 
furthering necessary programs of all 
kinds calculated to advance the gen- 
eral welfare of the community.” 


Exhibitors Make New Agreement 
with Producers and Distributors 


A S a result of information obtained 
from an unquestionably reliable 
source Moving Picture World is 
enabled to make exclusive announce- 
ment of details connected with the re- 
cent negotiations between the exhibi- 
tor committee, headed by Sydney S. 
Cohen and Will Hays. 

The committees have decided upon 
an entirely new form of contract. 
They have also effected what has been 
accepted as a “code of ethics” regulat- 
ing salesmanship insofar as it con- 
cerns exhibitor patronage. 

Insofar as the exhibitors’ committee 
is concerned, the contract and code, as 
formulated, are acceptable, but before 
either can be effective the producers 
and distributors represented in the 
Hays’ organization must approve 
them. Copies of the contract and code 
already have been sent to them. 

Some definite action on the contract 
is expected to be taken late next week. 


It is generally believed, however, that 
the contract, as negotiated by the two 
bodies, has met with the unofficial ap- 
proval of the companies, who were 
represented on the Hays’ committee 
that dickered with the exhibitors for 
many weeks. 

Most important of the many fea- 
tures embodied in the agreement is 
that pertaining for the creation of 
joint arbitration boards in the various 
exchange centres. On these boards 
will be members representative of the 
exhibitors and various exchanges. 

All disputes over contracts will be 
submitted to this board for settlement. 
In the event that the decision of this 
board be unsatisfactory to either side 
an appeal can be taken to a national 
joint arbitration committee, which, it 
is said, will include Messrs. Hays and 
Cohen, for a final decision. 

Another interesting feature provides 
that before any contract shall be con- 


sidered finally closed it shall be prop- 
erly and officially approved by the 
home office. A maximum period of 
14 days for coast exhibitors, wherein 
the decision of the home office shall 
be made known, has been fixed. In 
the event that no decision is reached 
within that maximum period, the con- 
tract shall be considered invalid. 

Embodied in the code of ethics is a 
provision prohibiting film salesmen 
from approaching other exhibitors in 
any place where negotiations for a pic- 
ture already have been opened, i. e., no 
salesman can, after closing a contract 
with an exhibitor, use that document 
as a weapon in forcing the opposition 
to submit to a higher rental. 

After much dickering the commit- 
teemen are said to have agreed on a 
replacement fee of four cents per foot 
of film. When negotiations were first 
opened the replacement fee was fixed 
at eight cents per foot. 


110 


MOVING PICTURE WORLD 


September 9, 1922 


Disposes of Interest 


Alfred Weiss Sells Holdings in 
Goldwyn Exchanges in New 
York and Buffalo 

Alfred Weiss, formerly vice presi- 
dent and general manager of Goldwyn 
Distributing Corporation, has sold to 
that company his entire commission 
interests in the operation of the 
Goldwyn exchange offices in New 
York City and Buffalo. This impor- 
tant transaction, which was consum- 
mated the latter part of last week, in- 
volved a cash transfer of $100,000. 

Mr. Weiss’ arrangements with the 
Goldwyn company has been in effect 
for the past five years and in lieu of 
the completion of the arrangement for 
the two years to run, the payment was 
made. 

Few men in the motion picture busi- 
ness have more friends among ex- 
hibitors, producers, branch executives 
and salesmen than Alfred Weiss, who 
has been closely identified with the 
industry for the past seventeen years. 
He has played an important part in 
the development of distribution sys- 
tems ever since the early days of the 
business. 

Because of his broad experience 
and proven judgment he was secured 
to organize the Goldwyn distributing 
branch offices when that company was 
launched in 1917 and for five years he 
filled a high executive post with con- 
spicuous success. Previous to his con- 
nection with Goldwyn he occupied im- 
portant executive positions with 

Triangle Film Company and also oper- 
ated his own exchange for five years 
under the name of the Alfred Weiss 
Film Exchange. 

It is understood that Mr. Weiss will 
take a trip to Europe and that after 
his return his future plans will be an- 
nounced. 

Commenting on Mr. Weiss leaving 
the organization, F. J. Godsol, 
Goldwyn’s president, says his absence 
will be keenly felt, as he was one of 
the organization’s mainstays. 





ALFRED WEISS 


Hot Music Tax Battle 


Many North Carolina Exhibitors Are 

Rebelling Against Its Imposition 

The American Society of Composers, 
Authors and Publishers are now mak- 
ing their first consistent effort to pry 
North Carolina Exhibitors loose from 
a license fee for using their copy- 
righted music, having established 
North Carolina headquarters in Ral- 
eigh and secured John H. Manning, a 
prominent lawyer, to represent them 
in the state. 

From reports coming in to the head- 
quarters of the North Carolina M. P. 
T. O. it is believed that few exhibitors 
are forking over the asked-for checks 
and the matter has caused considerable 
confusion in exhibitor circles. It is 
believed that by the time the various 
arguments are all settled, the amount 
expended by the society to effect col- 
lections in this state will far exceed 
the receipts from those who pay the 
tax, although it can naturally be ex- 
pected that the matter will be carried 
through to a conclusion, whatever the 
cost. 


Valentino Rebels 

Rodolph Valentino is kicking 
over the traces. The star, indis- 
putably one of the greatest draw- 
ing cards of the present day, has 
informed Famous Players that he 
will not return to its studio to be- 
gin work on “A Spanish Cavalier,” 
alleging that the company has 
breached its contract so far as 
publicity and advertising is con- 
cerned. His latest to be released 
is “Blood and Sand”; he recently 
completed “The Young Rajah.” 

Elek John Ludvigh, counsel for 
Famous Players, says that “for 
once Famous Players intends es- 
tablishing in court whether a con- 
tract means anything.” Arthur 
Butler Graham is counsel for the 
star. He would not comment on 
the case. 


Here to Buy Films 

Ing. Edward Svoboda, of Prague, 
has arrived in New York and is inter- 
ested in obtaining American films 
which may be suitable for Czecho- 
slovakia; besides this, he wishes to 
negotiate with American producers 
about distribution of American films 
in Germany, Austria, Hungary, Jugo- 
slavia, Roumania, Bulgaria, etc. 

Ing. Svoboda is a pioneer in the dis- 
tribution of motion pictures in Czecho- 
slovakia. He opened the first ex- 
change in Prague ten years ago. He 
was founder and shareholder of differ- 
ent film companies and was foreign 
manager of the biggest corporation 
in the Balkan states. He has also a 
thorough knowledge of the different 
protection systems and electrical light- 
ing, and has established the first 
studio in Prague with mercury vapor 
light and, last, he was a representa- 
tive of Carl Laemmle for Middle 
Europe and has controlled the dis- 
tributors of the Universal product. 
After his resignation he opened his 
own office as a foreign distributor in 
Prague. He will be here about three 
weeks. His address is Room 511, 
Hotel Astor. 


Admission Taxes for Year Show Decrease 


The extent to which theatre attend ance has been lessened since the war 
is shown by figures just made public by Commissioner of Internal Revenue 
David H. Blair, showing tax collections for the fiscal year which ended 
June 30 last, as compared with the preceding fiscal year. A decrease of 
$16,356,895 is shown in the collection of admission taxes, which in the fiscal 
year, 1922, amounted to $73,373,937, against $89,730,832 in 1921. 

During the first half of the fiscal year, the report shows, taxes were col- 
lected on film leases, $3,678,868 being collected from that source between 
July 1 and December 31, 1921. During the fiscal year, 1921, this tax 
amounted to $6,008,108. Collections from the special tax on theatres dur- 
ing the year amounted to $1,850,075 against $1,703,280, an increase of 
$146,695. 


Durlam Appointed 

G. A. Durlam, formerly connected 
with the Minneapolis Paramount Ex- 
change, has been appointed by S. R. 
Kent branch manager at Milwaukee. 
Mr. Durlam succeeds A. E. Bernstein, 
resigned. 


New Theatre Co. 

The Arcadia Theatre Company has 
purchased the picture business of O. 
B. Roberts and Sons in the Bache 
Auditorium, Wellsboro. Tioga County, 
Penn. 


September 9, 1922 


MOVING PICTURE WORLD 


111 


St. Louisans Have Ringside Seats 
to First-Run Battle Now Raging 


S T. LOUIS’ moving picture popu- 
lation is sitting back complacently 
awaiting the outcome of a first- 
run picture battle that is promised by 
the opening of the Delmonte Theatre 
by Fred L. Cornwell, former president 
of the Famous Players Missouri Cor- 
poration, and the purchase of the 
Royal Theatre from Harry Koplar by 
the Universal Film Corporation. 

Cornwell opened the Delmonte on 
September 1 with “Slim Shoulders.” 
He also presented Irene Castle’s 
Fashion Promenade and Kitty Gordon 
in person as features of his opening 
attraction. And he has announced 
that personal appearance of top liners 
of the film and musical comedy world 
will be weekly affairs at the Delmonte. 

Recently Cornwell sold his stock in 
the Famous Players Missouri Corpora- 
tion to the Famous Players-Lasky 
Corporation and has been succeeded by 
Nathan Frank, a leading member of 
the St. Louis bar, as president of the 
corporation. The amount of Corn- 
well’s holdings in the Famous Players 
Missouri Corporation has not been re- 
vealed, but it is said to have been com- 
paratively small. 

However, the Delmonte Building 
and Investment Company, owners of 
the Delmonte Theatre building, are 
said to have been paid $100,000 to re- 
lease the Famous Players from a lease 
that called for an annual rental of 
$36,000 for the theatre. Cornwell is 
the principal stockholder in the build- 
ing corporation. 

What caused Cornwell’s sudden 
withdrawal from the Famous Players 
local organization has not become 
public property, but it is said he plans 
to make things interesting for all of 
the picture houses of St. Louis, includ- 
ing the Missouri Theatre, the only 
theatre now controlled by the Famous 
Players Missouri Corporation, and 
the New Grand Central, the big house 
of the Skouras Brothers’ string. 

Gossip, for several weeks, has been 
that Universal would take over the 
Royal. However, it was not possible 
to confirm the report until a few days 
ago when Barney Rosenthal, local 
manager for Universal, and Harry 
Koplar returned from New York, 
where the deal was closed. 

The purchase price and improve- 
ments to the Royal will cost Universal 
upwards of $75,000, it is said. Work- 
men are now remodeling and enlarg- 
ing the theatre. At present it accom- 
modates about 700. 

Independent distributors are hope- 
ful that the Delmonte and Royal will 
provide an outlet for their big pro- 


Hamburg, Jr. These houses have 
since been taken over by the St. Louis 
Amusement Company. The neighbor- 
hood theatres were originally con- 
trolled by Koplar, who was induced by 
Cornwell to sell out to Famous Players 
about three years ago. 


Niagara House Opens 


Cataract Corporation Completes Beau- 
tiful Falls Theatre. 

Niagara Falls celebrated the open- 
ing of the Strand Theatre on Saturday 
evening, August 26, by an enthusiastic 
demonstration that began early in the 
day. A. C. Heyman, president of the 
Cataract Theatre Corporation, which 
has just completed this third and most 
magnificent of the houses in the Niag- 
ara chain, stated that the success of 
the first night was great enough to 
compensate for the worries and delays 
of erection during the past year. 

The Strand, which belongs in the 
million dollar class, accommodates 
2,200. Seats were sold in advance and 
when it was announced that 200 were 
available Saturday morning, a line 
formed two hours before the box-office 
was open. Manager R. W. Thayer 
satisfied their fairest expectations by 
giving them a program remarkable for 
its variety and smoothness. In stim- 
ulating advance interest in the open- 
ing, no one worked harder than Harold 
Lloyd Beescroft, assigned by First Na- 
tional for the exploitation of the fea- 
ture, “The Light in the Dark.” 

Hope Hampton’s personal appear- 
ance kept the whole town on the alert 
from the moment of her arrival. She 
gave her audience a surprise by re- 
sponding to their applause with a Song 
number, and proved an irresistible at- 
traction at all performances Saturday 
and Sunday. Mayor Thompson 
staited the program with a gracious 
speech and many prominent citizens of 
Buffalo and Niagarai Falls were among 
the guests of honor. 


Harding in Control 

Sam H. Harding, owner of a chain 
of theatres in Kansas City, Omaha and 
Oklahoma City, has gained control of 
the Wichita Theatre, Wichita Kans., 
one of the largest moving picture 
houses in that town, by acquiring the 
majority of stock and a sublease on the 
building. Mr. Harding plans exten- 
sive improvements, it is said. 


A War on in Toledo 


Construction work on a million 
and a half dollar theatre, on a St. 
Clair street site, Toledo, is to be 
started immediately by the B. F. 
Keith interests. All negotiations 
for acquisition of the Rivoli 
Theatre by the Keith interests 
have been broken off, and the 
Pantages vaudeville circuit will 
book that house this season. The 
new theatre will seat 3,500. 

But the big item of interest is 
the probability of a big theatrical 
war. This war will bring to 
Toledo the greatest variety of 
motion pictures and acts obtain- 
able in Europe and America, and 
will bring them to the city at 
ridiculous prices. It will be a war 
between the vaudeville magnates 
and motion pictures — and the 
theatregoers will reap the benefit. 

Pantages vaudeville will replace 
the Gus Sun time at the Rivoli 
with the beginning of the current 
winter season. 


ductions and that the intense competi- 
tion may cause the New Grand Central 
and the Missouri to give consideration 
to independent pictures. St. Louis 
has been a closed city so far as first 
runs go, for several seasons. 

About a year ago the Famous 
Players Missouri Corporation sold 
eighteen neighborhood theatres to the 
City Wide Amusement Company, con- 
trolled by Harry Koplar and Sam 



PERFECT PROJECTION 

Upon the sound foundation of 
PERfECT PROJECTION 

Rests Picture Success 
Re sts Theater Success 
RestsYOU R Success 


RICHARDSON'S 
H^IE«GDK^ROJECTK^J 

? Press! 



112 


MOVING PICTURE WORLD 


September 9, 1922 


As Col . Levy Sees It 


Col. Fred Levy, 
serving as a mem- 
ber of the rotating 
committee of Asso- 
ciated First National 
Pictures, Inc., presi- 
dent of Associated 
First National Pic- 
tures, Inc., of Ken- 
tucky and Tennessee, 
for eight years has 
studied showmanship 
and is affiliated with 
the operation of 
thirty-one picture 
houses. He discusses 
the business outlook 
as a merchant as 
well as an exhibitor, being also one of the big 
dry goods men in the South. Read '. 

The outlook is good. Why? Because 
the announcement has been made that so 
many big productions are going to be put 
out. 

* * * 

Are business conditions becoming more 
normal? I think so. However, when busi- 
ness dropped off in other industries the pic- 
ture business was the last to feel it, and 
while business in these other industries is 
now recovering, I think it will take the 
picture industry longer to recover entirely; 
but it will be forthcoming during the fall. 


Wichita Convention 

Announcement is made that the next 
convention of the Motion Picture 
Theatre Owners, of Kansas, will be 
held at the Broadview Hotel in 
Wichita. The convention was orig- 
inally scheduled to be held at Salina 
on September 25 and 26. The change 
was decided upon by the executive 
committee, at its meeting at the head- 
quarters in Kansas City, last week. 


Conference inToledo 

Musicians and other employees have 
submitted a tentative wage scale to 
the Toledo theatres and managers 
asking a slight increase in wages and 
different working conditions this sea- 
son. 

The Toledo managers withheld de- 
tails of the schedule submitted by the 
employees, pending a conference with 
them. They admit, however, that a 
counter proposition has been submit- 
ted to the unions by the managers, and 
they expect to reach an agreement 
with the employees before Labor Day 
and avoid a strike. 


J. W. Brady Dead 

The funeral of James W. Brady, 
well known in the amusement business 
of Philadelphia for fifteen years, was 
held Saturday, August 19. Mr. Brady 
died suddenly Wednesday, in his office 
in the Century Theatre, Philadelphia. 
He was 49 years old. He was a mem- 
ber of the M. P. T. O. A., and the 
Philadelphia Chamber of Commerce. 


Of our successes during the last few 
months, Norma Talmadge in “Smilin’ 
Through” has been one of the best in the 
big picture line. In comedies, Buster Keaton 
scored a good box-office record with “The 
Boat.” Features and short subjects in all 
lines are showing an improvement, because 
the public demands»it. 

* * * 

Success in the motion picture business 
from now on is going to be gauged more 
or less by the presentation of attractions. 
In the past the showman believed he was 
alone in the matter of exploiting and pre- 
senting pictures. But today progressive 
merchants are out-showing showmen in the 
art of showmanship. 

* * * 

The outlook for First National attractions 
during the coming season seems to be an 
excellent one. “The Eternal Flame,” with 
Norma Talmadge, should have big drawing 
power. Other companies also are putting 
out big productions for the season at the 
threshold of which we now stand. 

* * * 

Let us all be optimists. Pessimism means 
despair. Optimism means hope and cheer- 
fulness. We have every reason to look 
forward to a splendid season. Let us expect 
success, work for success — and gain suc- 
cess. 


More Music Troubles 

Cleveland musicians, seeking an in- 
crease in wages of about 35 per cent, 
will probably walk out or be locked 
out the early part of September. 
Cleveland exhibitors have definitely 
decided to reject their request, claim- 
ing that they cannot meet an increase 
at this time, owing to business reverses 
during the last year. The musicians 
are now receiving an average of $47 
a week for afternoon and evening 
sessions. 

If there is a walkout or lockout, 
the managers will run their shows 
without music as was done two years 
ago when the musicians went out. 


Lease Criterion 

The Cosmopolitan Corporation, 
presenting Cosmopolitan productions, 
has leased the Criterion Theatre, New 
York, from Paramount and will take 
over the house on September 10. The 
first attraction will be “When Knight- 
hood Was in Flower,” starring Marion 
Davies, which is said to have cost over 
a million dollars. It will remain at 
the Criterion indefinitely. 

A row of boxes will be built around 
the balcony and the entire interior 
changed. The orchestra pit will be en- 
larged to accommodate fifty-two 
musicians. 


Reverts to Shuberts 

Universal’s lease on the Central 
Theatre, Broadway, New York, ex- 
pires next week when possession of 
that house reverts to the Shuberts. 


Situation Bad Abroad 


U. S. Has Little to Fear in Way of 
Competition, Says Kann. 

George E. Kann, head of Goldwyn’s 
foreign department, who sailed on 
June 3 for Europe, returned on Aug- 
ust 23 and is now at his desk at Gold- 
wvn headquarters. 

Mr. Kann reports that picture con- 
ditions generally on the continent of 
Europe are in a bad condition, with 
little to be feared here in the way of 
competition on our own market. Ger- 
many is making a lot of pictures, but 
of a sort which does not appeal strong- 
ly to the American public. And but 
few American films are being shown 
in Germany due to the embargo 
against foreign films. 

In France the American picture 
maintains its firm hold on the public 
but the tax situation is becoming so 
acute that all picture houses may shut 
down on January 1 as a protest. In 
Czechoslovakia American films are 
very popular and the theatre situation 
is good, due primarily to the fact that 
money there has depreciated less than 
in other European countries. 

Italy is making many pictures, fully 
half of which are spectacles, but the 
cost is becoming so great that produc- 
tion may be curtailed. Few American 
films are shown there. Russia is doing 
nothing either in production or dis- 
tributing, aside from a few German 
films, taken in exchange for goods and 
a rare American film smuggled into 
the country. In England the Ameri- 
can film retains its popularity and 
conditions have improved as a result 
of the inroads made on the block and 
the advance booking systems. 

Burke’s Hustling 

Barry Burke, of the Palace 
Theatre, Fort Worth, Texas, is an 
exhibitor who doesn’t wait for the 
grass to grow under his feet. For 
instance, he’s actively pushing his 
plans for “Show You Month” 
(September), despite the fact that 
in Texas the weather is far from 
favorable for films that time of 
year. 

This is what he says in a letter 
to Moving Picture World: “I am 
not waiting until the sun rises on 
the morning of August 31, but 
have already started my move- 
ments for September. I have the 
‘Go to the Movies Often in Sep- 
tember’ slogan on the screen, and 
am announcing the ‘Greatest 
Array of Pictures’ for that month. 

“We are talking it to every 
patron, we are beginning to use it 
in our advertising, and are selling 
it so hard that I cannot see how it 
can keep from being the best 
September since we opened.” 



113 


September 9, 1922 


MOVING PICTURE WORLD 


News from the Producers 

2 $ C*S‘ SEWELL 


Negri’s First 


Pola Negri’s first Para- 
mount picture to be made in 
this country will be “Bella 
Donna.” George Fitzmaurice 
will direct the famous Polish 
star and Ouida Bergere is 
now at work on the scenario 
of the widely read novel by 
Robert Hichens. The picture 
will be made in California. 
Miss Negri will arrive in this 
country about September 13 
and remain in New York just 
long enough to see the town 
before entraining for the 
West Coast. Mr. Fitzmaurice 
plans to start the production 
about September 23. 

Fox Names Fine Cast 
for Picture 

“Penzie,” the title of the screen 
adaptation by Paul H. Sloane of 
Florence Bingham Livingston’s 
widely read novel, “The Custard 
Cup,” which Fox Film Corpora- 
tion will release as a special for 
the current season, will be marked 
by one of the finest casts of chil- 
dren ever used by a motion pic- 
ture producer, it is stated. 

Director Herbert Brenon, who 
is making the photoplay, has gone 
to considerable expense and delay 
in his endeavor to secure the best 
possible talent for this big spe- 
cial and in addition to the well- 
known children actors has also 
obtained a notable cast to support 
Mary Carr, whom the story fea- 
tures. 

Miriam Battista, who scored 
success in “Humoresque,” and 
who has been featured in other 
successful productions since that 
time, will play an important part 
in the new Fox picture. Miriam 
is eight years old. Others who 
will have prominent roles are 
Jerry Devine, Ernest Hilliard and 
Peggy Shaw. 


Lupino Lane Finishes 
Four for Fox 

Completion of the first series 
of four special, two-reel comedies 
by Lupino Lane, the famous Eng- 
lish comedian, under the Fox ban- 
ner, comes with the arrival of the 
merriment-making star in New 
York en route to his home in Lon- 
don, where he will remain for a 
number of weeks before returning 
to the West Coast. 

His recently completed produc- 
tions are “The Reporter,” “My 
Hero,” “The Pirate” and “Friend 
Husband,” the first of which was 
released August 20. Release 
schedule for three others will be 
announced in the near future. 
They were directed by Jack Bly- 
stone. 


To Release 
Super 

Three “Big Time” First Nation- 
al Attractions are among the 
releases scheduled by that or- 
ganization for September, the 
month that marks the opening 
of the 1922-23 amusement season. 
These are Norma Talmadge in 
“The Eternal Flame”; Hope 
Hampton in “The Light in the 
Dark,” and “Skin Deep,” a 
Thomas H. Ince special, in which 
Florence Vidor, Milton Sills and 
Marcia Manon appear. 

According to executives of As- 
sociated F'irst National Pictures, 
Inc., these specials have been 
heavly booked for first runs 
throughout the United States, 
and this fact, it is said, bears out 
the statement made several weeks 
ago by J. D. Williams, manager 
of First National, that the “big 
pictures” would be the ones in de- 
mand during the forthcoming 
season. 

Of these Big Time First Na- 
tional Attractions, Norma Talm- 
adge in “The Eternal Flame,” is 
scheduled for National release 
Sept. 4. This picture, said to be 
the best of the many powerful 
productions in which Miss Tal- 
madge has starred, is presented 
by Joseph M. Schenck. Adapted 


One of the biggest advertising 
and exploitation campaigns in the 
history of New York’s Capitol 
Theatre is being conducted this 
week in conjunction with the 
opening on September 3 of the 
new W. W. Hodkinson released 
production, “Slim Shoulders,” 
starring Irene Castle, and the 
Irene Castle Fashion Promenade. 

The exploitation , campaign, 
which is being conducted jointly 
by the Hodkinson publicity de- 
partment and the Capitol publicity 


“If I Were Queen” is the title 
selected for Ethel Clayton’s first 
picture for release through the 
Film Booking Offices of America 
which was made under the work- 
ing title of “The Three Cornered 
Kingdom,” being a screen adap- 
tation of the magazine story by 
De Vernet Rabell of the same 
name. This picture, states F. B. 



Three 

Attractions 

by Frances Marion from Balzac’s 
"Duchesse de Langears,” “The 
Eternal Flame” was directed by 
Frank Lloyd. 

Supporting Miss Talmadge as 
the Duchess de Langeais is Con- 
way Tearle, who plays the role 
of General de Montriveau. Also 
in the cast are Rosemary Theby, 
Adolphe Jean Menjou, Wedge- 
wood Nowell and Kate Lester. 

In “The Light in the Dark” 
Hope Hampton has a play that is 
something new for the screen, 
First National says. It is sched- 
uled for release Sept. 11. Adapted 
from William Dudley Pelley’s 
powerful story, it is said to be 
notable not only for its original- 
ity and remarkable cast, but for 
a colored reel sequence, made un- 
der the new Eastman process, 
such as picture goers never be- 
fore have witnessed, it is alleged. 

“Skin Deep,” the third First 
National attraction for this month, 
is scheduled for release Sept. 25. 
In it are Milton Sills, Florence 
Vidor, Marcia Manon, Frank 
Campeau, Joe Singleton, Winter 
Hall and Gertrude Astor. “Skin 
Deep” is the first of the eight Ince 
specials to be released through 
First National. 


department, consists of special 
posters on elevated stations, car 
signs in the subways and surface 
lines, special heralds, extra news- 
paper space and a number of 
window displays on Fifth avenue, 
Broadway and Forty-second 
street. 

Second in importance to “Slim 
Shoulders” on the Capitol pro- 
gram for the week of September 
3 will be the Irene Castle Fashion 
Promenade which is staged in 
conjunction with the picture. 


O., will take its place with the 
biggest and most fascinating pro- 
ductions of the year. 

“If I Were Queen” will give 
Miss Clayton an opportunity to 
appear to more picturesque ad- 
vantage than any previous pic- 
ture, it is stated. It is a colorful 
drama, it is stated, telling of the 
adventures of an American girl in 
a mythical Balkan principality. 


A New Star 


First National says it will 
surprise few but delight many 
to learn that the beautiful 
Phyllis Haver, having served 
her apprenticeship, has re- 
ceived her diploma from 
Mack Sennett, and will hence- 
forth be seen at the head of 
her own company as the star 
in a series of full length com- 
edy drama productions to be 
released through First Na- 
tional. 

From the galaxy of screen 
beauties known as the Sennett 
Bathing Girls, Miss Haver 
rose, and successfully worked 
her way to the enviable posi- 
tion of a star. Her first star- 
ring vehicle, not yet given a 
title, will be ready for produc- 
tion within a few days. 

Urban Is Making a 
New Series 

A new series of Urban Popular 
Classics is receiving finishing 
touches at Urban Institute at Irv- 
ington, N. Y., where James A. 
FitzPatrick is putting into shape 
his twelve one-reel subjects on 
“Great British Authors.” This is 
a companion series to the “Great 
American Authors.” 

Mr. FitzPatrick has just re- 
turned from England, where he 
went early in the year to procure 
the material for the series. The 
first reel in the series will be en- 
titled “The Brownings.” Besides 
its biographical contents it will 
contain dramatizations of “Pippa 
Passes,” by Robert Browning, and 
of “The Romance of a Swan’s 
Nest,” by Elizabeth Barrett 
Browning. 

Alfred, Lord Tennyson, is the 
subject matter of the second reel 
in the series. The third reel is 
devoted to Robert Burns. Sir 
Walter Scott is the fourth reel’s 
subject. 

Others to be in the series are 
Robert Louis Stevenson, Shakes- 
pears, Percy Bysshe Shelley, 
Charles Dickens and Oliver Gold- 
smith. Three more will be chosen 
from the following. John Milton, 
Samuel Taylor Coleridge, Alfred 
Noyes, Robert Bridges, George 
Eliot and Rudyard Kipling. 


Book Sport Review 

“Western Stuff,” one of Weiss 
Brothers’ single reel Sport Re- 
views released through Goldwyn, 
is being shown at the New York 
Capitol during the current week 
and another one of this series has 
been booked for a two weeks’ 
showing at the New York Strand. 
“Western Stuff,” “Red Man 
Sport,” “A Vacation Cocktail” and 
“Mass Play” are the newest of the 
Sport Reviews. 


Big Campaign on 

“Slim Shoulders” 


Ethel Clayton in 

F. B. O. Production 


114 




MOVING PICTURE WORLD 


September 9, 1922 



One of Irene Castle’s Gowns 
in the Irene Castle Fashion 
Promenade at New York’s 
Capitol Theatre 

Good Cast for New 
Hamilton Film 

Lloyd Hamilton can, it is stated, 
boast of one of the largest and 
best casts he has ever used in 
a comedy in the second of his se- 
ries of feature laugh-makers for 
Educational. Having delivered 
the first of the new Hamilton 
Comedies, “The Speeder,” which 
Educational will soon release, 
Hamilton has plunged into work 
on the next subject, which he has 
tentatively titled “No Luck.” 
Heading Hamilton’s support in 
the second picture is Ruth Hiatt, 
who played in “The Speeder.” 

Two among the best known 
“kiddies” in motion pictures, Coy 
Watson, Jr., and Bobbie DeVil- 
biss, contribute largely to the fun. 
The first little boy will be remem- 
bered for his work in the Camp- 
bell Comedies released through 
Educational, and the latter for his 
work in support of Lloyd Hamil- 
ton in “Rolling Stones.” Others 
in the cast are Lloyd Bacon, Tom 
Kennedy and Turn McGuire. 


Hum Promoted 


H. H. Hum, formerly 
branch sales manager of the 
W. W. Hodkinson Corpora- 
tion at Cincinnati, has been 
appointed to the position of 
central division sales man- 
ager, and W. F. Seymour, for- 
merly central division sales 
manager, has been made 
eastern division sales man- 
ager. 

The Hodkinson Sales Con- 
trol Board is now composed 
of six members: Vice Presi- 

dent and General Manager 
F. C. Munroe, who is per- 
sonally in charge of the 
western division; Vice Presi- 
dent and Treasurer Raymond 
Pawley, Advertising Manager 
Foster Gilroy, Eastern Divi- 
sion Sales Manager W. F. 
Seymour, Central Division 
Sales Manager H. H. Hum 
ind Southern Division Sales 
Manager L. W. Kniskern. 


44 


The Graphic" to Faith in Film 

Issue Every Week 


Announcement was made at the 
home office of Educational Film 
Exchanges, Inc., this week, o r the 
forthcoming issue of a magazine 
for the screen to be called “The 
Graphic.” There will be fifty-two 
issues a year, and release will be- 
gin October 1. 

This new screen magazine, 
which is to be produced by Edu- 
cational Films Corporation, will 
be a departure from the accepted 
standard of short reel magazines 
in several respects, Educational 
says. Instead of confining itself 
to scenic shots, stunt photography 
and odds and ends from news 
reels, “The Graphic” will put into 
pictures dramatic and appealing 
short stories taken from life it- 
self. 

All stories that go to make up 
this magazine will be from spe- 
cially prepared material, and will 
be photographed by cameramen 
specially trained for this work. 
“The Graphic” will not be content 


with merely showing the outward 
aspect of material things, but will 
seek to have a more deeply human 
touch that will show the trend 
of people’s thoughts and hopes 
and desires. 

Broadly speaking, this magazine 
will parallel to some extent the 
function of the better Sunday 
magazine, inasmuch as its sub- 
jects will contain elements of ap- 
peal that are fundamental, and in- 
terest all classes of people re- 
gardless of their particular call- 
ings or their particular limita- 
tions and tastes. 

The stories carried in “The 
Graphic” will be primarily stories 
about people — people who in one 
way or another have a legitimate 
claim on the public interest. They 
will not necessarily be prominent 
people in the sense that they are 
rich or powerful, but they will 
always be picturesque characters 
in whom the public will be inter- 
ested, it is stated. 


Paramount believes that its 
Fred Niblo production, “Blood 
and Sand,” starring Rodolph 
Valentino, is destined to 
eclipse the box-office success 
scored by “The Sheik,” and 
bases its opinion upon the 
great record which the picture 
has set up in New York, Los 
Angeles and Chicago during 
its pre-release engagements in 
those cities. 

In New York, “Blood and 
Sand” played to capacity 
throughout the past three 
weeks at the Rivoli and for 
a simultaneous week at the 
Rialto. 

In Los Angeles where the 
picture opened four weeks 
ago at Grauman’s Rialto with, 
it is said, the most sensational 
premiere ever recorded at that 
house, it has taxed the seating 
capacity at all performances, 
Paramount states. 

In Chicago, where “Blood 
and Sand” played the Roose- 
velt, the picture received the 
most unanimously flattering 
notices from the newspaper 
critics that have been accord- 
ed any picture in that city in 
more than a year, Paramount 
says. 


Doug Works Fast 

in Making Latest 


Statistical stories usually are 
boresome, rather than instructive 
and entertaining. In the case of 
“Douglas Fairbanks in Robin 
Hood,” Mr. Fairbanks forthcom- 
ing production, an exception can 
be noted, due probably to the fact 
that every record ever made in 
connection with the making of a 
motion picture production was 
shattered in its making. 

The unbelievable speed with 
which this gigantic production 
was “shot” was due to the re- 
markable organization with which 
Mr. Fairbanks surrounded him- 
self. He put at the head of each 
department the most thoroughly 
competent man obtainable, re- 
gardless of price. And at the 
head of the whole directorial 
force he placed Allan Dwan, re- 
puted to be the most thorough 
and swiftest director of produc- 
tions of magnitude. 

Here are some cold figures 


which tell the story of the mak- 
ing of “Douglas Fairbanks in 
Robin Hood” : 

Thirty thousand calls issued 
through casting department to 
players. 

Eighteen hundred players used 
in the biggest scene. 

Three hundred horses used in a 
single scene. 

Total scenes shot, eleven hun- 
dred and eight. 

Maximum number of scenes in 
a day, thirty. 

Minimum number of scenes in 
a day, two. 

Titling and editing, which has 
been going forward under the 
personal supervision of the star 
himself, is now practically com- 
plete, but in all probability 
“Douglas Fairbanks in Robin 
Hood” will not be given its pre- 
miere and be ready for United 
Artists Corporation release until 
late in September or early in Oc- 
tober. 


“The Kick Back” to 
Be F. B. O. Film 

“The Kick-Back,” the first 
Harry Carey production to be is- 
sued through the Film Booking 
Offices of America, is the current 
release of that company, follow- 
ing close upon the Emory John- 
son police drama “In the Name of 
the Law.” 

Carey’s first F. B. O. produc- 
tion brings the star to the screen 
in a story of the West, which is 
certain to satisfy all those who 
demand action in their screen en- 
tertainment, F. B. O. states. One 
of its pre-season runs was at the 
Capitol Theatre, New York, where 
it was booked by Samuel Rotha- 
fel as a mid-summer attraction. 
Its cast includes Ethel Grey Ter- 
ry as the leading woman, and 
Henry B. Walthall in the role of 
the “heavy.” Val Paul,- who has 
sponsored Carey in past produc- 
tions. directed the picture. 


Fox to Release 

Film October 15 


Special Pre-release 
in Los Angeles 


October 15 is the date set by 
the Fox Film Corporation for the 
release of “A Little Child Shall 
Lead Them,” the sixth of the 
special productions announced by 
the Fox organization for the 
present season. The picture, 
which is scheduled to open at the 
Lyric Theatre, New York, 
September 4, is a heart story 
along the lines of the successful 
domestic dramas that have been 
shown by this company on Broad- 
way and then made a triumphant 
progress in the picture houses of 
the country. 

Following such important and 


highly esteemed productions as 
“The Fast Mail,” “A Fool There 
Was,” “Silver Wings,” “Monte 
Cristo” and “Nero,” it was neces- 
sary that “A Little Child Shall 
Lead Them” should be able to 
stand comparison with its prede- 
cessors. Everything points to a 
flattering result of the test. Two 
more specials that will soon be 
placed in the hands of the ex- 
hibitor are “Lights of New York” 
and “My Friend, the Devil.” This 
last-named picture, which is a 
screen version of George Ohnet’s 
celebrated novel “Doctor Ram- 
eau,” has the well-known Charles 
Richman in the leading role 


American .Releasing Corpora- 
tion announces that “The Queen 
of The Moulin Rouge,” produced 
by Pyramid Pictures and directed 
by Ray C. Smallwood, opened 
August 26 at Mack Sennett's Mis- 
sion Theatre in Los Angeles for 
an extended run. 

This production, based on Paul 
M. Potter’s celebrated play, is the 
most spectacular thus far made 
by Pyramid. It is confidently 
expected that the picture will sur- 
pass on the screen its success on 
the stage when, after its solid 
year at the Circle Theatre, New 
York, ten companies toured the 
country with it. 


September 9, 1922 


An F. B. O. Film 


The Film Booking Office of 
America will distribute 
“The Hound of the Basker- 
villes,” a picturization of one 
of the most popular Sherlock 
Holmes’ stories of Sir Arthur 
Conan Doyle. It is one of the 
three Sherlock Holmes’ detec- 
tive stories which has been 
published in novel form, being 
sufficiently long to occupy an 
entire book. The film version 
is a feature in five reels. Eille 
Norwood plays the role of 
Holmes, and Rex McDougal 
plays the juvenile role. 

“Our Gang” Is to Be 
Out Sept. 10 

Added exhibitor interest, Pathe 
says, attaches to its schedule of 
releases for September 10. On 
that date the first of the long- 
heralded, novel Hal Roach two- 
reel series called “Our Gang” 
comedies and dealing with the 
familiar, and so often highly 
comic, relations existing between 
children and their animal friends, 
will make its appeal to picture 
patrons. The “Our Gang” release 
announced for September 10 is 
called “One Terrible Day.” 

The Pathe serial, “The Timber 
Queen,” with Ruth Roland, 
reaches its ninth episode, entitled 
“Horned Fury.” It carries the 
hero and heroine to Argentina. 
“The Landlubber” is the Hal 
Roach comedy featuring Paul 
Parrott. The Aesop’s Film Fable 
offering is called “The Boy and 
the Bear.” 

“Si Senor,” is the Harold Lloyd 
re-issue for Sept. 10. Lloyd is 
supported by “Snub” Pollard and 
Bebe Daniels. In Pathe Review 
No. 172, are seen the New Jersey 
fish hatcheries and other interest- 
ing material. Screen snapshots 
in this release schedule present a 
studio scene with “a million dol- 
lar cast,” including Mary Miles 
Minter, Bessie Love. Agnes 
Ayres, Theodore Roberts, Wanda 
Hawley, Bert Lytell, Conrad 
Nagel, May McAvoy, Director 
Paul Powell and Antonio Moreno, 
staging a movie for visitors. 


MOVING PICTURE WORLD 

Lavish Sets for 

“Broadway Rose” 


115 


One of the most distinctive fea- 
tures of Robert Z. Leonard’s 
forthcoming presentation of Mae 
Murray in “Broadway Rose” is 
the beauty of the settings, it is 
stated. Careful attention has, it 
is said, invariably been expended 
on artistic settings for all of the 
Mae Murray photoplays, with the 
idea of making them not only 
beautiful but accurate from the 
point of view of nationality. Thus, 
in “Peacock Alley” were required 
scenes with Normandy and Paris 
as their locale; and in “Fascina- 
tion” a great deal of the action 
takes place in Spain. In both these 
films, it is said, the highest praise 
has been accorded by press and 
public alike to the genuine mag- 
nificence of the artistic back- 
grounds. 

Elaborate as have been the for- 
mer Mae' Murray releases, those 


who have had an opportunity of 
witnessing her latest, "Broadway 
Rose,” at its recent private show- 
ing, are reported to be convinced 
that it excels anything that this 
star has ever attempted. The 
story, it is said, provides ®ample 
opportunity for lavish and spec- 
tacular settings and the work of 
the Tilford Cinema Corporation, 
which executed the sets for 
“Broadway Rose” is, Metro states, 
certain to prove a revelation to 
the exhibitors, even to those who 
are accustomed to expect gorge- 
ous settings in Miss Murray’s 
photoplays. 

“Broadway Rose” is presented 
and directed by Robert Z. Leon- 
ard. The story and scenario are 
by Edmund Goulding, who wrote 
the story of “Fascination.” It is 
a Tiffany Production, released ex- 
clusively by Metro Pictures Cor- 
poration. 


Selznick Resumes 

Filming in East 


Selznick Pictures Corporation re- 
sumed production in the East im- 
mediately upon the arrival of David 
O. Selznick from the West Coast 
studios of the company. Mr. Selz- 
nick, who will have complete charge 
of the special featuring Theda 
Bara, is making preliminary ar- 
rangements for the actual studio 
work. 

The choice of stories has come 
down to three which were selected 
out of a vast amount of submitted 
material. When the final choice is 
made, which will probably be some 
time during the coming week, Mr. 
Selznick will name the director and 
start casting. It is thought that the 
studios on Forty-eighth street for- 
merly occupied by Selznick in the 
East will be used for the Bara 
production. 

The Theda Bara production is 
not, as is generally believed, David 
Selznick’s first production work. 
He was in active charge of the 


studios while Myron Selznick was 
in England the earlier part of th 
year. During that period he super- 
vised the production of “Reckless 
Youth.” To this experience he has 
added a long stay at the West Coast 
studios co-operating with Myron 
Selznick on current productions. 


Initial Offering 


Dependable Pictures Cor- 
poration, of which Morris 
Kohn is president, has placed 
its first production, “Till We 
Meet Again,” with Associated 
Exhibitors for release. Posi- 
tives and negatives were de- 
livered to Associated a few 
days ago and a date early in 
October probably will be set 
for the release, according to 
President Arthur S. Kane. 

The production is in six 
reels. Both story and direc- 
tion were by William Christy 
Cabanne, well known as au- 
thor and director. The cast 
includes Mae Marsh, Norman 
Kerry, Martha Mansfield, 
Walter Miller, Julia S wayne 
Gordon, Cyril Chadwick, J. 
Barney Sherry, Tammany 
Young, Danny Hughes, Fred 
Kalgren and Dick Lee. 


It’s Booming Along 

Fred Miller, managing director 
of the California Theatre, Los An- 
geles, reports that Charles Ray’s 
“A Tailor Made Man,” his first 
United Artists feature, is still 
booming along to big business at 
Miller’s Theatre, despite excep- 
tional summer weather. “A 
Tailor Made Man” is now in its 
fourth week. After playing two 
weeks at the California to capacity 
business, it was transferred to 
the Miller Theatre for an indefi- 
nite run. 


Fox Puts Over 


Unique Publicity 


Fox says that blase New York 
was in eruption this week as a 
result of the most unique exploi- 
tation affair ever on Broadway. 

“Monte Cristo,” the giant Fox 
special which is enjoying the 
second week of an indefinite 
Broadway run at the Forty-fourth 
Street Theatre, was the subject 
of an unusual publicity stunt. 

For days advertisements in the 
various dailies heralded the com- 
ing to New York of the famous 
Count of Monte Cristo, who was 
to share his vast fortune with the 
people of the metropolis by dis- 
tributing certificates of different 
denominations in many nooks and 
corners within 300 feet of the 
theatre building. Those finding 


the certificates, which repre- 
sented sums of $1, $5, $10, $15, 
$25, $50 and a grand prize of 
$100, were to cash them in at the 
box office of the theatre. 

Promptly at noon Friday, 
August 25, the Count of Monte 
Cristo. attired in the regal cos- 
tume in which he appears in the 
picture, drove up to the front of 
the Forty-fourth Street house and 
announced to the large throng 
awaiting him that the money cer- 
tificates had been hidden and 
that the “gold rush” was on. 

Within less than five minutes 
more than 15,000 treasure-seekers 
were engaged in the scramble 
and more than 100,000 others were 
interestedly witnessing the rush. 


NOTICE 

“The sole and exclusive right for the ex- 
hibition, exploitation, lease and hire of the 
serials, ‘THE GREAT CIRCUS MYSTERY,’ 
‘THE JUNGLE GODDESS’ and ‘A DAN- 
GEROUS ADVENTURE’ has been as- 
signed and transferred by us for the ter- 
ritory of India, Burma, and Ceylon, to 
Messrs. The Senecca Films, Ltd., Rangoon, 
to whom the copyright registered in Bom- 
bay has also been assigned. Any person, 
firm or corporation attempting any in- 
fringement whatever against our sole 
rights will be dealt with immediately ac- 
cording to law.” 

AUSTRALASIAN FILMS, Ltd. 

SYDNEY, AUSTRALIA 

NEW YORK OFFICE: 729 SEVENTH AVENUE 


116 


MOVING PICTURE WORLD 


September 9, 1922 


Paramount Has Fine 
September Schedule 


More Shorts 

September will see the first 
big expansion of the short 
subject program of the Film 
Booking Offices. During that 
month the first of three series 
of comedies will be available 
for exhibitors. They are: 
“Their First Vacation,” the 
initial Carter DeHaven com- 
edy; “Pop Tuttle’s Movie 
Queen,” the first Plum Center 
Comedy starring Dan Mason, 
and “Sweet Thirteen,” which 
will introduce Gloria Joy in a 
series of Sherwood MacDon- 
ald two-reel children’s com- 
edies. 

Heretofore the short sub- 
ject program of the F. B. O. 
has consisted of two single- 
reel short subjects, Hy Mayer 
Travelaughs and Starland Re- 
vue. Both of these subjects 
have proved unusual money- 
getters for exhibitors who 
find them among the most dis- 
tinctive novelists on the mar- 
ket. 


Special Programs for 
the Blind 

The programs in raised letter- 
ing, used by the audience of blind 
persons at the special showing 
of Metro’s “Forget-Me-Not” at 
Loew’s New York Theatre recent- 
ly; have proved one of the most 
interesting exploitation features 
in connection with this unusual 
event. As a response to the in- 
terest which has been displayed in 
these programs, the Metro offi- 
cials have had a sufficient number 
of them printed to enable the va- 
ious exchanges throughout the 
country to distribute them to ex- 
hibitors who may desire to carry 
out the same exploitation stunt 
which has aroused so much atten- 
tion in New York. 


Making New Film 

Tom Mix’s next picture for 
William Fox will be “Do and 
Dare.” Mix’s last production was 
“Just Tony,” a horse story. “Do 
and Dare” is a story of Mexican 
revolutions. 


Promises Well 


Goldwyn Pictures Corpora- 
tion states that since the an- 
nouncement of the order and 
date of release of the first 
eight of its twenty big super- 
features for the new season, 
the requests for bookings in 
first run theatres of the first 
release has been very heavy. 

The first of the releases is 
the new Rupert Hughes’ 
“Remembrance,” a photoplay 
of intense human interest, of 
which Goldwyn expects a 
record that will surpass that 
of its companion picture, also 
by Mr. Hughes, “The Old 
Nest.” The cast includes 
Claude Gillingwater, Patsy 
Ruth Miller, Cullen Landis 
and Kate Lester. 


September holds promises of 
big things from Paramount, for 
that month will see the release of 
seven productions which include 
two of the biggest specials of the 
year, Fred Niblo’s “Blood and 
Sand,” starring Rodolph Valen- 
tino, and Cecil B. DeMille’s 
“Manslaughter,” with Thomas 
Meighan, Leatrice Joy and Lois 
Wilson. 

September 3 marks the opening 
of the fifth annual Paramount 
Week when approximately 7,000 
theatres will show Paramount 
pictures exclusively throughout 
the week. More elaborate 
preparations are said to have been 
made this year than ever before 
for this sales and exhibition 
event. Preceded by a double 
page announcement in the Sat- 
urday Evening Post and many of 
the ieading monthly publications, 
the week will be ushered in by a 
tremendous smash of advertising 
in more than 1,300 newspapers in 
900 cities and towns. 

Introducing Paramount Week 
will be released on the 3rd Gloria 
Swanson in “Her Gilded Cage” 
•and William DeMille’s produc- 
tion, “Nice People,” each of which 
has been booked day and date in 
nearly 250 houses. “Her Gilded 
Cage” is a Sam Wood produc- 
tion, the story being written by 
Elmer Harris, who based it upon 
the play by Anne Nichols. David 
Powell is Miss Swanson’s lead- 
ing man and Anne Cornwall, 
Charles Stevenson, Walter Hiers 
and Harrison Ford are seen in 
support. William de Mille is 
said to have constructed an ex- 
cellent screen drama, with the as- 
sistance of Clara Beranger, 
scenarist, from Rachel Crothers’ 
stage play, “Nice People,” which 
features Wallace Reid, Bebe 
Daniels, Conrad Nagel and Julian 
Faye. “Blood and Sand,” the 
Fred Niblo production starring 
Rodolph Valentino, which has 
just finished a record-breaking 
run at the New York Rivoli and 


“Grandma’s Boy,” the Harold 
Lloyd- Associated Exhibitors’ 
super-attraction, produced by Hal 
Roach, is now in the sixteenth 
week of its record-smashing run 
in Dr. H. B. Breckwedel’s Sym- 
phony Theatre, Los Angeles, al- 
ready surpassing by two weeks 
the longest previous run of any 
picture, of whatever length or na- 
ture, in that city. The Los An- 
geles record for the continuous 
showing of a comedy, established 
by Harold Lloyd with “A Sailor- 
Made Man,” was shattered nine 
long weeks ago. 

When Calvin Heilig on August 
21 started “Grandma’s Boy” on 
its third week in the Heilig The- 
atre, Portland, Ore., the high- 
water mark for the showing of a 
photoplay in the Oregon metropo- 
lis was passed. The picture ran 
fourteen days in P. Mortimer 


Rialto, is scheduled for the 10th. 
This story of a bull-fighter’s life, 
was adapted by June Mathis from 
the novel by Vicente Blasco 
Ibanez, and the play by Tom 
Cushing. Lila Lee, as leading 
woman, and Nita Naldi, in the 
role of a Spanish vampire, are 
featured with Mr. Valentino who 
is here seen for the first time as 
a star. 

The other feature due the 10th 
is the Cosmopolitan production, 
“The Valley of Silent Men,” with 
Alma Rubens. This is from the 
novel by James Oliver Curwood 
and was directed by Frank Bor- 
zage. Lew Cody is seen as an 
officer of the Northwest Mounted 
and others in the cast are Joseph 
King, Mario Majeroni, George 
Nash and J. W. Johnston. 

On the 17th comes an Irvin Wil- 
lat production. “The Siren Call,” 
with Dorothy Dalton supported 
by David Powell and Mitchell 
Lewis. This, too, is a story of 
the far North, from an original 
by J. E. Nash. For the same date 
is scheduled Jack Holt in “While 
Satan Sleeps,” from the novel, 
“The Parson of Panamint,” by 
Peter B. Kyne. Albert Shelby 
LeVino wrote the scenario and 
Joseph Henabery directed. It is 
the story of the regeneration of 
a wayward son of a clergyman. 

In “Manslaughter,” adapted by 
Jeanie Macpherson from Alice 
Duer Miller’s sensational novel 
and scheduled for release the 
24th, Cecil B. DeMille has pro- 
duced his greatest masterpiece, 
according to Jesse L. Lasky and 
other Paramount executives who 
have seen it. Thomas Meighan, 
Leatrice Joy and Lois Wilson are 
featured with other prominent 
roles in the hands of John Mil- 
tern. George Fawcett, Julia Faye, 
Edythe Chapman, Jack Mower, 
Dorothy Cumming, Gasson Fer- 
guson, Mickey Moore, James 
Neill, Sylvia Ashton, Raymond 
Hatton, Charles Ogle, Guy Oliver 
and others. 


Lewis’s Bijou Theatre, Atlantic 
City, which is three days longer 
than any film ever played in that 
seaside resort town before. Until 
“Grandma’s Boy” appeared simul- 
taneously in Homer Ellison’s 
Princess and Rialto, each of them 
a large downtown theatre, no pic- 
ture ever had divided its first run 
in Denver between two houses. 

A telegram from Eddie Zorn, 
owner of the big Temple Theatre, 
Toledo, tells of the triumph 
“Grandma’s Boy” is scoring in 
that city and of the upset it has 
occasioned in his booking ar- 
rangements. 

Joseph Plunkett, managing di- 
rector of the Mark Strand, is 
making elaborate preparations for 
the opening of the first New York 
run of “Grandma’s Boy,” Sunday, 
September 3, which is Labor Day 
week. 


A Great Start 


The week beginning August 
27 saw two releases of the new 
Allied Producers and Dis- 
tributors Corporation playing 
representative theatres in 
Greater New York, day and 
date. 

J. Stuart Blackton’s “The 
Glorious Adventure,” the first 
Prizma color photoplay, fea- 
turing Lady Diana Manners, 
started a run at the Brooklyn 
Strand, following an engage- 
ment at the Capitol Theatre, 
New York, and Max Linder’s 
burlesque, “The Three Must- 
Get-Theres,” opened at the 
Strand, New York. 

After its run at the Strand 
the Linder film goes to the 
Keith-Proctor-Moss circuit, 
where it will feature the bills. 


Alexander Absorbed 
by Levey 

Through contracts signed this 
week the entire non-theatrical activi- 
ties of the Alexander Film Corpora- 
tion, 130 West Forty-sixth street, 
New York, are absorbed by the Na- 
tional Non-Theatrical Motion Pic- 
tures, Inc., of which Harry Levey is 
president and Arthur James is vice- 
president. 

By the terms of the agreement 
150 subjects, including William S. 
Hart, Douglas Fairbanks, Norma 
Talmadge, Charles Ray, Frank Kee- 
non, Ray Stewart and a number of 
specials will be marketed non-the- 
atrically solely by the National Non- 
Theatrical Company. 

Christie Co. Service 
for Theatres 

In order to better serve the thea- 
tres which advertise comedy attrac- 
tions in newspapers and house or- 
gans of their own, the Christie Film 
Company has inaugurated a special 
cut, photograph and mat service on 
all the new Christie Comedies be- 
ginning with “That Son of a Sheik” 
which is to be released in September 
through Educational exchanges. 

All of this material is being pre- 
pared by the Christie studios, under 
the direction of the exploitation de- 
partment and will be available 
through Educational exchanges be- 
fore release dates on all pictures. 


Production Started 

Emmett J. Flynn has started 
the production of “Without Com- 
promise,” in which William Far- 
num will be starred. It is being 
made in the William Fox West 
Coast studios. Lois Wilson will 
be opposite Farnum and Robert 
McKimm will play the “heavy.” 
Tully Marshall also will have a 
prominent part in the production. 


COMING SOON 

PERFECT PICTURES 

“neither screen nor stage — 

RUT LIRE'S WINDOW " 


Grandma’s Boy” 

Is Cleaning Up 




September 9, 1922 


MOVING PICTURE 


WORLD 


11 7 


Selling the Picture to the Public 

Paramount Accessories Man Is Pinched Transparency Frame 
But Gets Exploitation Job As a Result Helps Coney Island 


ECAUSE H. C. Eagles, who has been 
handling the accessories in the Para- 
mount Seattle exchange, went up to 
Bellingham and got pinched, he got a job 
with Claud Saunders, of the exploitation 
department. Saunders got a hectic tele- 
gram from Fred Walton, of the American 
theatre there, and in return wired Eagles 
to blow his accessories job and turn ex- 
ploiteer. 

Eagles has been keen on exploitation for 
some time, selling his accessories on ex- 
ploitation ideas and otherwise trying to 
prove what he could do in the exploitation 
line. Recently Waltcn took over the Jen- 
sen and Von Herberg houses in Bellingham 
and turned them into Paramount patrons, 
asking Eagles to come up and start some- 
thing. 

Right on the Job 

Starting something is Eagles’ middle 
name, and he went up to Bellingham and 
stuck up ten thousand door knobs and 
auto tags for “If You Believe It, It’s So,” 
He had done similar stunts before, but this 
time he got a ticket to call at the police 
station. Instead he made the Mayor’s office 
and got the case called off, also obtaining 
a permit for further stunts. 

With this out of the way he felt he would 
have time to pull something really big. The 
biggest thing he could find was Mount 
Baker, the local Mount Ranier. That 
seemed big enough, even for Eagles. 

The Big Idea 

The Pacific fleet was in those waters and 
Eagles talked the officers into loaning him 
a detail of marines to scale the face of 
Mount Maker and plant an American flag 
on the summit, to help recruiting. As long 
as it was flag day, he carried along a flag 
with the Paramount trade mark, as well. 

There were 126 marines in the party, as 
well as a number of civilians, and the idea 
was supposedly to help recruiting. 

Because of an unusually severe storm, 
the men were unable to reach the summit 


Lem Stewart’s Word 

Lem Stewart is still looking for 
a word; a single word, which will 
be the reverse of “good adver- 
tising.” Several suggestions have 
come in, including “Ballybad,” as 
the opposite of a ballyhoo, or 
“ballybloomer.” Several offer 
“flivver” as the best, and “nixad” 
has been brought forward. 
“Negative” is another offering, 
but these are none of them just 
what Lem seems to want. 

Try and think of a word that 
will connote all forms of adver- 
tising which repel patronage. 

Then send it in. 

Ralph Ruffner, please write or 
wire. 


and planted the flags some 1,200 feet short 
of the top, but the storm added to the news 
value of the story, and Eagles not only got 
the first column on the front page of the 
Bellingham Herald, but a streamer across 
the top of the sheet. In addition there will 
be a long story in the Sunday issue, illus- 
trated by a staff photographer who made 
the climb. 

Not a Picnic 

The trip was not precisely what you 
might call a picnic. The men were ta'-en 
to the foot of the trail the night before 
and were soaked by a drenching rain, and 
then started the climb with a snow storm 
imminent. This soon broke and the guide 
was unwilling to make the trip, but was 
over-persuaded and led the way. Only ten 
lasted to the highest point and two of these 
fell into crevasses and narrowly escaped 
death, but the flags were planted and the 
story of the Marines — and Paramount — was 
told all over that section, so Eagles is not 
only happy, but now he is a full fledged 
exploiteer and no longer has to sell heralds 
and six sheets save as a side line. 

And he put the change to Paramount 
over with a bang. 


Two In One 

Working two titles on one stunt was the 
accomplishment of McKivett, of the Bijou 
Theatre, Racine. He tied the paper to a 
contest for the best smiles to advertise 
“Smilin’ Through” and then sent out Klans- 
men in an automobile to photograph the 
smiles, which gave “One Clear Call” a 
starter. The contest won something more 
than 200 inches of pure reading and aroused 
unusual interest. 


Playing “The Loves of Pharaoh” as a 
pre-release, Henderson’s Theatre, Coney 
Island, borrowed the still frame designed 
by M. A. Bootsford, Paramount advertis- 
ing manager, for the New York exchange. 



A Paramount Release 


THE PHARAOH FRAME 

The design is as shown in the cut, with 
six glass transparencies made from the 
scene stills and colored. They are lighted 
from behind. Standing before the box 
office, this fine display arrested the atten- 
tion of the pleasure seekers as well as the 
resident vacationists, and appreciably in- 
creased the receipts. 



A Rathe Release 


DISPLAY OF CURIOS HELPS “NANOOK OF THE NORTH” 

This display was made by the Liberty Theatre, Spokane, but was erroneously credited 
by one trade paper to Los Angeles. A kiyak, stuffed Arctic animals and hunting 
implements and clothing beat even the snow lobby for a pull. Try it this winter. 







118 


MOVING PICTURE WORLD 


September 9, 1922 


TWO OF THE LOBBY FRAMES FOR THE MILLER THEATRE 
Not Miller’s Theatre, Los Angeles, but the Miller Theatre, Wichita, Kans., presided 
over by Stanley N. Chambers. They are in keeping with the elegance of the house 
in general, and we don’t blame Mr. Chambers for being proud of them. 


Battered Cuts of 

Leading Citizens 

In addition to a large clean-up on the voting 
for leading citizen to put over “Our Leading 
Citizen,” which has made fancy profits for 
Southern Enterprises, B. B. Garner, of the 
Casino Theatre, Lakeland, Fla., got out a new 
angle. 

He tied the merchants to a double truck, each 
space carrying the battered cut of one of Lake- 
land’s leading citizens. Each merchant offered 
a prize for the identification and the best letter 
telling why his contestant should be regarded 
as the leading citizen. 

This local angle formed one of the best points 
in an exceedingly good campaign and is offered 
for general use. 

Duluth Exhibitor 
Makes Own Inserts 

W alter Eberhardt, of the First National pub- 
licity, went on a vacation a couple of weeks 
ago and landed in Duluth, among other points 
West. He came back with an unusually in- 
teresting window and insert card used by F. P. 
Schwie for the New' Garrick. It will be found 
reproduced upon this page as an example to 
others. 

The sheet is coated stock, 36 by 14 inches, 
printed in red and black, with a good halftone 
ink for the black, which brings up even the 
coarse screen cuts as they are seldom brought 
out. 

Mr. Schwie could find nothing in the 
accessories which gave him just what he 
w'anted, so he makes his own from the cuts 
supplied by First National, and gets enough 
printed to permit him to bill windows as well 
as his insert frames, getting a sheet which gives 
him much more space in a window than a half 
sheet card, which looks better than a w'hole 
sheet and which sells in every line. 

The card is useless unless it is made thor- 
oughly attractive, but when they are well put 
together they are well worth their cost in the 
additional business they bring in. Mr. Schwie 
is careful to make them as different as possible. 
“One Clear Call,” which is reproduced here, 
gives the featured players and a scene cut. The 
week before, for “Trouble,” he had nothing but 
some interesting cuts of Jackie and a very little 
talk around the big red one-word title. Get 
them so much alike that they look the same 
and you lose effect. Make a distinctive change 
weekly and they will bring in the bacon. 


Elegant 

Johnny Friedl, who Paramounts for Des 
Moines, has just pulled a classical stunt. 

He has notified the chiefs of police in his 
territory asking for extra protection for pic- 
ture theatres the w'eek of September 3 to 9, 
as this will be Paramount Week and it is 
feared that the extra receipts induced by the 
super shows will tempt the thieves to direct 
their attentions to the theatres that week. 

And the glorious part is that several chiefs 
hace responded in all seriousness that they 
would co-operate to the utmost, and some of 
them even went into executive session with the 
local Paramount exhibitors, which is some- 
thing not even Johnny dared hope for. 

Ain’t life wonderful! 


Chicken Wire Now 

Collaborating with House Manager C. F. 
Creslein, of the Rialto Theatre, Augusta, Ga.. 
Manager of Theatres Frank J. Miller worked 
out a new one for the title stunt. He put the 
cutout letters on chicken wire stretched across 
the lobby. This will also permit the use of 
florets or other ornamentation, on the lines of 
the lattice lobby. 

The stunt was used on “The Girl With a 
Jazz Heart” and this display was augmented 
by a phonograph playing the latest jazz records, 
and with a shimmy doll actuated by the turn- 
table. These are carried by most phonograph 
stores. 

The stunts brought normal business on an 
exceptionally rainy day. 




l-'irst National Releases 

ONE OF THE INTERESTING INSERT CARDS USED IN DULUTH FOR WINDOW WORK AS WELL 
F. W. Schwie, of the Lyric and Garrick theatres, Duluth, prints his own insert sheets to get precisely what he wants, and they not 
only dress his front, but he can land in stores where ordinarily he could not get half this area. The house name, title and the night 
riders” lines are printed in red, the rest in black on coated stock and the result is really handsome even when coarse screen cuts 

are used, 






BICfflOODD 













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m / Ja 


PRISCILLA DEAN 

in 

"UNDER TWO FLAGS" 
Her Latest UniversaLJewel Picture 



) 








"WHEN HUSBANDS DECEIVE” 
An Associated Exhibitors Feature 



Will Rogers in "THE HEADLESS HORSEMAN 
A Hodkinson Picture Taken from Washington 
Irving's "The Legend of Sleepy Hollow’ 



Katherine MacDonald in 
"HEROES AND HUSBANDS" 
a First National Picture 
Nigel Barrie Plays the Male Lead 



REMEMBRANCE” a Rupert Hughes Picture for Goldwyn 



9L . ii 






i * j 







William pox Presents 

A FOOL THERE WAS 

Inspired by Kipling’s "The 
Vampire” and Porter Env 
erson Brownfe’s Stage 
Romance 





the First Allied 
Producers and 
Distributors 
Release 




.. it 


. .V* 


is rb 


V v % *4 


Max Linder in 


"THE THREE 
MUST-GET-THERES" 







I 



“More Laughs, Longer Laughs, 
Longer Comedies ” 


“Snub” Pollard Comedies 



Produced by HAL ROACH 


One every four weeks 


Path^comejy 


Now in two reels 


H HE Hal Roach comedies 

1 starring “Snub” Pollard 
have played during the past two 
years more theatres than any 
one reel comedies made. 

That proves positive merit. 

In response to the demand 
Pollard is now presented in a 
series of two reel comedies, 
produced under the personal 
supervision of Hal Roach him- 
self. 

You are thus assured of 
“more laughs, longer laughs, 
longer comedies. ” 


TRADE f Ugfl|) MARK 


“Snub ” Pollard 




"II 111 Jill I _ jm II iiiWMHj 






J 


' i 


Hal Roach presents 


Gang” Comedies 

T wo reels each 


VERY father, every mother, 
knows how funny children 
unconsciously are. 

Each tiny tot is a saint 
and a sinner, an innocent 
and an outlaw in his own 
little self. They do funny 
things because they haven’t 


been taught by experience 
to fear the ridicule of others. 

Hal Roach has caught big 
laughs from little kids, and 
from remarkably trained 
domestic animals. 

You’ll roar! 



One every four weeks 


trade 


MARK 



Ruth 

Roland 


in 


The 

Timber 

Queen 


R UTH ROLAND has made a world 
of money for exhibitors, and she has 
done it in Patheserials. 

“The Timber Queen,” in all honesty, 
is called by exhibitors, the Pathe sales force 
and the great big enthusiastic serial public 
the best Western serial yeti 

When so many unbiased persons have 
taken the trouble to tell us this, you, Mr. 
Exhibitor, should certainly have this serial 
screened for you. 

If you advertise it as it deserves, you 
can’t help but make money, for the serial 
will back your every claim. 

As fast and thrilling 
as a runaway broncho. 

Produced by RUTH ROLAND SERIALS, INC. 
Supervised by HAL E. ROACH 


_ 


September 9, 1922 


MOVING PICTURE WORLD 


119 



A First National Release 


A CLEVER ADAPTATION OF THE SCHENECTADY IDEA 
Here the painted pavements were used for detour warnings during a session of street 
repair. The stunt was adapted by G. T. Spofford, of the Liberty Theatre, Madison, 
N. J. It reached the home folks as well as the tourists. 


Brought Patrons to 
Admire His Display 

Major I. C. Holloway, of the Rialto Theatre, 
Columbus, Ga., did something from a new angle 
when he ran slides several days in advance of 
his showing of “Over the Border,” urging his 
patrons to come and see his lobby display. He 
made something of a mystery of it, and they 
all came down. 

Then he built a slab structure about the box 
office, chinking the cracks with cotton, and 
putting a sign above with “U. S.” and “Canada” 
on the opposite ends. 

A Hanging Forest 

On a platform above the lobby he built a 
pine forest with whitewash snow on the 
branches, and used blue lighting throughout to 
get the cold effect he desired. There was more 
hard work than material and the actual cost 
was estimated at six dollars. It brought a 35 
per cent, increase in the business, but this is not 
entirely due to the lobby, for Betty Compson 
is now the clean-up woman star in the South. 

Major Holloway had “I Am the Law” im- 
mediately following, and he left the display 
standing, but changed the sign to read: R. N. 
W. M. P. and added a scale with the law 
weighting down the man, all of it being dressed 
in cotton. He also added cotton snow to the 
whitewashed branches, to intensify the effect. 

The additional material cost $7.50 and the 
receipts went to 50 per cent, above the summer 
average. 


Recalled the Can 

Getting a hook-up with two titles permitted 
Manager Struble to put over both to better than 
usual business at the Bear Tooth Theatre, Red 
Lodge, Mont. 

Booking in Norma Talmadge in “Smilin’ 
Through,” he changed the slogan to read : 
“Let’s tie the can to ‘Trouble’ and start Red 
Lodge ‘Smilin’ Through’ 1922.” 

That worked nicely and when he announced 
“Trouble” a couple of weeks later, he came 
out with “We spoke too soon. We’re not 
through with ‘Trouble’ yet, but you will be if 
you see Jackie Coogan’s latest picture at the 
Bear Tooth Theatre this week.” 

Everyone laughed because they supposed that 
Struble had been stung, but the clever come- 
back sank in and they forgot that Struble books 
better than two weeks ahead. 


Labor Saving 

Recently we showed a banner -with the orna- 
mentation cut from figured wall paper. John 
C. Evins of die Odeon Theatre Savannah, Ga., 
uses wall paper as the material for his banners. 
He picks out an attractive small-figure design 
and paints over that. By picking up odds and 
ends from the paper hanger, who may have 
part of a roll left over from a job, his stock 
costs almost nothing. 

For “Our Leading Citizen” Mr. Evins had 
a political parade with a brass band, and the 
candidate riding in a Ford He borrowed the 
car, and the band cost 50 passes, his only ex- 
pense being for the banners. You can’t beat 
that much. 

Local elections next November will give 
another lease of life to this title. Try and 
use it then. 


Painted the Detours 

Madison, N. J., is one of those commuting 
towns where you eat your breakfast and dinner 
at home and earn them in New York. Work 
on one of the streets necessitated a detour for 
a few days. G. T. Spofford, of the Liberty 
Theatre, offered to paint the detour signs free 
if he could do a little advertising. 

He was told to go as far as he liked, and 
presently the streets blossomed out into sign- 
boards, and you could go “Smilin’ Through” 
to Morristown or to the Oranges, or wherever 
you happened to be headed for, if only you 
followed the arrows. 

It did not bring in much motoring trade 
from the through traffic, but most families own 
cars, and they got the message and bought 
tickets. 


Turned Turtle 

Some time ago an exhibitor in Newark 
turned a lot of turtles loose in a window, each 
with a letter painted on the shell. If anyone 
caught them spelling “Tol’able David,” a pass 
would be forthcoming. 

No one got the free tickets, so Manager 
Hendricks, of the Arcadia Theatre, Reading, 
Pa., thought it was a cinch and he started it 
for “Molly O.” 

Either the Reading turtles are better educated 
or else the word was easier, for almost the first 
shake out of the box the turtles formed the 
title and there was a rush on the box-office for 
tickets for Mabel Normand. 

At that Hendricks got his money back, for 
the story was told all over town and the adver- 
tising brought in real money. 


One on Bill 

Something happened to Bill Johnson’s 
stenographer the other day. Bill handles the 
western section of Southern Enterprises ex- 
ploitation for Lem Stewart. 

A recent report states that “between eight 
and ten people saw this stunt, and as a result, 
business on this picture was phenomenal.” The 
word “thousand” after the “ten” would make a 
heap of difference. 



A Paramount Release 

SIX DOLLAR LOBBY BROUGHT 35 PER CENT INCREASE 


Not only that, but Maj. Holloway, of the Rialto Theatre, Columbus, Ga., brought 
people downtown to see the front he had been advertising on his screen, and it 
looked so cool, they all went in, and he used the stand for the next picture. 


120 


MOVING PICTURE WORLD 


September 9, 1922 


Played a Lone Hand Until the Legion 

Saw the Value of a Big Voting Contest 


D OWN on the Canal Zone they have a live 
wire in the Bureau of Clubs and Play- 
grounds in the person of J. C. Searcy, 
who has charge of the motion picture activities 
of this department of the Administration. He 
has sent in several good ideas in the past year 
or so, but we like best his story of his partici- 
pation in the Fourth of July campaign. 

This year the celebration was to be held under 
the direction of the American Legion, and Mr. 
Searcy suggested to them that they elect a 
Miss Columbia to be queen of the festival, 
along the familiar lines. Not being practical 
showmen, the Legion officials could not see the 
value of the suggestion and turned it down. 

Played It Alone 

This did not bother Mr. Searcy. He knew 
that a queen was a part of every well regulated 
festival, and he went ahead and played out his 
hand alone. At least he started it as a solitaire, 
but a little later the Legion men came tumbling 
in, feeling the need for something with which 
to arouse interest and finding in the once 
despised scheme precisely the thing they wanted, 
just as Mr. Searcy knew they would. He had 
worked up more interest in his campaign than 
the Legion could in the celebration, and when 
they found the tail wagging the dog, the dog 
backed up to the tail and at least looked as 
though he had a proprietary interest in the 
appendage. 

How It Was Done 

Mr. Searcy had voting slips printed up and 
then persuaded some members of the Legion to 
act as Judges of Election. They were asked 
to get as many candidates as possible, and fifty 
of the prettiest girls on the Zone qualified. A 
vote was given with each ticket and the leading 
contestants had campaign managers and all the 
political trimmings. 

Twice a week the vote was counted and 
announced in the paper, which also carried fre- 
quent stories of the contest. The paper some- 
times did a little too much, for the reporter 
was interested in one of the candidates and 
was inclined to be a bit partisian. 

Building Up 

The stunt grew so rapidly that Mr. Searcy 
felt he would have to make it more important, 
so he added the thirteen original colonies and 
the Legion allowed him a hundred dollars for a 
float. Mr. Searcy made a splendid showing for 


the money, but unfortunately the photograph 
was shipped without protection and it was 
too badly crumpled to be reproduced. 

In addition Mr. Searcy got the local dancing 
teacher to stage a pageant for the colonies. 

Meanwhile the Legion had arranged a couple 
of balls, at which all of the contestants were 
the guests of honor and this pulled between 
four and five hundred dollars for the fund. 

How It Was Worked 

On the morning of the Fourth Miss Col- 
umbia, in the person of Miss Phyllis Milliken, 
arrived at the docks and was escorted to her 
float Then the float led the parade to the 
stadium, where the field sports were staged and 
the Declaration of Independence read. 

At two o’clock the play was staged at the 
picture theatre in addition to a good feature, 
and at four the aquatic events were held at the 
swimming pool, with fireworks at half past 
seven and a ball at the Mosque of Abou Saad 
Temple of the Mystic Shrine an hour later. 

The authorities contributed an escort of 
soldiers and marines and also contributed four 
bands, and the entire Zone was in. The stunt 
cost Mr. Searcy about $90, which the Legion 
paid out of the excess funds, and the pictures 
are more solid than ever. 

What did you do for your town last Fourth? 


Ran a Colyum 

Eli M. Orowitz, of the Paramount exploita- 
tion staff, turned colymn conductor for the 
Allentown (Pa.) Record, to help put over “If 
You Believe It, It’s So.” 

He assumed the signature of Emo and wrote 
a set of smart paragraphs, most of which were 
hinged on the Meighan play then running at the 
Strand Theatre. Most of it consisted of 
humorously impossible statements ending with 
“If You Believe It, It’s So.” 

One, for example, about doubled the town’s 
population and added the catchphrase, and 
another told that he had sat in a picture theatre 
the night before and observed that the boys 
and girls sat with their hands folded in their 
laps. Of course, no one believed that, but it 
helped to get a laugh. 

If you can’t get a paragraphing Para- 
mounteer, you can at least get someone to write 
you a set of stingers to wish on a kindly local 
editor. 


Made Arctic Relics 
Sell “Nanook ” Seats 

Working on the lines of general publicity, 
the Pathe exploitation department made a dis- 
play of Arctic relics in a Brooklyn store win- 
dow for the benefit of the exhibitors who were 
using the picture in that territory. 



A Pathe Release 


THE NAMM DISPLAY 

The store was that of A. I. Namm, and the 
window was one in which the dresser aims to 
make unusual displays. The exploitation de- 
partment loaned some of the material brought 
down from the Arctic by Robert J. Flaherty, 
and it made so interesting a display that it not 
only helped the exhibitors, but it brought people 
to the store. The store supplied its own back- 
ing and did all of the display, and asked for 
another as good. 


Softsoaping 

Because First National’s “Hail the Woman” 
might be mistaken for a play appealing to 
women only, the Strand Theatre, Lansing, 
Mich., arranged with a drug store having an 
allotment of sample tubes of a new shaving 
cream to distribute them to men patrons dur- 
ing the run of this picture. It helped the 
house and at the same time gave more im- 
portance to the sample distribution. 

Whiskered Sheik Was 
Poison to Opposition 

This is one of the funniest Sheiks we ever 
expect to see, and we regret that the photo- 
graph is so poor that you cannot get from the 
cut the full effect of those bird nest whiskers 
and wind-tempting hair, but you • can at least 
enjoy the suggestion of the dashing Sheik, 
whose love was as hot as the desert sands, 
plodding over the prairie in this bull wagon. 

It’s funny; as funny as we have had, but it 
just naturally took all the life and laughter 
out of the day for a tent show manager who 
drifted into Remus. Mich., to make life mis- 
erable for the Rex Theatre. In spoiled the tent 
business and brought them over to the Rex in 
droves, and if it did that, it was good exploita- 
tion, no matter how funny it may look to those 
who can spend a couple of hundred dollars on 
a stunt. 

It's funny, but it marks the manager, who- 
ever he may be. as a live wire, who refuses to 
lie down and let his legs be tied by every 
traveling trick on the road, and if all exhibitors 
had the same willingness to do the best they 
can. instead of bewailing their limitations, the 
business would be in a more healthful condition. 

We have a lot of respect for the Rex man- 
aeement. It did the he«t the ^ 



A Paramount Release 

THIS SHEIK IS A SHRIEK, BUT HE CASHED IN 
He looks more like Uncle Tom driving over to Legree’s plantation, but it brought real 
money to the Rex Theatre, Remus, Mich., and just ruined the day for a tent show 
which drifted into town. It’s funny, but it is just as good as more costly stunts, 

because it paid. 


September 9, 1922 


MOVING PICTURE WORLD 


121 



A First National Release 


HIDE USHERS BEHIND MASK IN A BEAUTY CONTEST 


Masked the Ushers 
in Beauty Contest 

All cats are alike, grey in the dark, accord- 
ing to an old Spanish proverb, and any. girl is 
good looking behind a mask, but masking the 
ushers and then staging a beauty contest 
brought more tangible results to the State 
Theatre, Minneapolis, than a lot of expensive 
schemes. 

It was a stunt to put over Guy Bates Post 
in First National’s “The Masqueraders,” and 
the ballot box was labeled : “Vote for the 
Masquerader you think is the prettiest. 

Most of the girls had regular patrons who 
were interested in their regular usher, and the 
interest was worked into a real contest, with 
the partisans getting out and hustling among 
their friends, and they could not talk of the 
girls without telling about “The Masquerader.” 


Raffles Now Rides 


Some of them should hide, but this brought a lot more publicity to the State 
Theatre, Minneapolis, than more pretentious and expensive schemes, for the girls 
got out and worked and even the bow-legged one had some following. 


Made His Guarantee 
Sell First National 

Getting solidly behind “Tol’able David,” 
Major I. C. Holloway, of the Rialto Theatre, 
Columbus, Ga„ assured his patrons that 
“Tol’able David” was a really fine picture, 
then added: “If it has not proven all that our 
advertising claims it to be, then you can dis- 
regard our future advertisements. Do you 
think we would say that if we were not sure 
of oar grounds?” 

Building on this, he used the Jacksonville 
idea of dooryard exploitation. Five hundred 
cards were used, reading : “Good morning. 
Just wanted to say ‘Tol’able David’ starts at 
1 p. m. today, at the Rialto.” In smaller type 
was “We would be foolish to work while you 
sleep to advertise something which was not 
worth-while, wouldn’t we?” 

These were mounted on sharpened sticks and 
placed in the yards during the night to . face 
the houses. Many persons who were not visited 
walked into someone else’s yard to see what 
it was. The stunt cost $4 and helped to in- 
crease business by a third. 

During the run a card in the lobby told the 
patron to see the play and pay or not when he 
came out, according to his satisfaction. Very 
few failed to purchase their tickets in. advance, 
but some tried out the scheme and paid on the 
way out, just to be different. 


Something Different 

Johnny Friedl, Paramounteer for Des 
Moines, knows that the cut-up photograph with 
ticket prizes is getting old enough to vote, but 
he put a goat gland in the old idea by try- 
ing to throw contestants off the track when 
he used a hashed still of Meighan and wished 
it on a clothing store. The store announced 
it was a picture of “Our Leading Citizen,” and 
the salamanders who live in Des Moines were 
trying to make it look like some local celebrity 
until they noted that the prizes were tickets to 
the Strand and that Meighan was there in 
“Our Leading Citizen.” 


Old 9 But Good 

E. R. Cummings, of the Fort Armstrong 
Theatre, Rock Island, broke a window to ad- 
vertise Jackie Coogan in “Trouble,” explaining 
on a card that this was the broken pane which 
got Jackie into “Trouble.” 


The break was made with soap zigzags. Ii’s 
old stuff, but lately we saw hundreds of business 
men anchored in front of a New York store 
looking at a baseball which apparently had 
stuck in the break. 

This was done by cutting the ball in two 
and gluing one half to the inside and the other 
to the outside, matching it accurately. The 
same thing can be done with a wooden brick 
or a papier mache stone, lettering the window 
around the break with water color, the brick 
or other object providing the focal point for 
the display. 


Capping for Gish 

One of the accessories on Dorothy Gish in 
“The Country Flapper” is a paper hat made of 
stout kraft paper which can be shipped flat 
and pasted up by the house or the recipient. 
The dunce caps on “School Days” and similar 
headgear have been clean-ups, and the flapper 
hat can not only be used for advertising, but 
can be copied by milliners for sale in fabrics. 

It is doing a lot to help the picture make 
money and is being very generally used. 


as The Masquerader 

Street workers for the Raffles stunt still 
prove husky exploitation, but the Capitol 
Theatre, St. Paul, has refined the idea for 
Guy Bates Post in “The Masquerader.” This 
picture is of a class to appeal to a better 
clientele than the average and should be handled 
with nicer discrimination. The auto stunt 
seems to supply the idea. 

The car was driven about the streets by a 
chauffeur in the livery of the Capitol Theatre, 
and the newspapers announced that prizes would 
be given thoje who guessed his identity. This 
is not easy in a city the size of St. Paul, with 
Minneapolis right alongside, but the stunt 
gained interest, for hope rises eternal, and a 
lot of people thought they recognized the well 
dressed chap who sat back in the rear seat. 

A Capitol Leaser 

The chief value of the idea, however, is the 
teaser angle, for the stunt was opened before 
the newspaper advertising broke and got the 
people interested in the title before its an- 
nouncement. It brought extra business to the 
Capitol through this angle. In a small town 
the straight guessing idea will prove a stronger 
pull, but it will work in places of any size for 
this First National. 



A First National Release 


A RIDING RAFFLES WORKS FOR THE MASQUERADERS 
St. Paul was asked to tell who the man in the tonneau is. This is not as easy in 
St. Paul as it would be in a smaller town, but it has the makings of a new idea to 
put over Guy Bates Post in this fine First National production. 


1 22 


MOVING PICTURE WORLD 


September 9, 1922 


Get Behind Serial 
for All It's Worth 

The Regent Theatre, Indianapolis, believes in 
starting a serial right if it is a good one, and 
it took 135 lines, double, to put over Ruth 
Roland in “The Timber Queen,” starting it off 
with the comment that it is the first serial in 
years strong enough to run the week. This 
much space in a city paper for a serial is some- 


me House oi jurats. 


Ggt Started With This Sur- 
prise — A Second Story, and 
You’ll Never Regret It! 

It’s the First Serial We Have Seen in 
Years Strong Enough for a Week’s Run 



Ruth 


The Timber 

Pafheserial 


As you see this train careen and roar dawn 
Thunder Mountain with Ruth on top of it 
you’ll gasp — Your eyes will pop. 


All in Conjunction With LARRY SEMON 


Jack Hoxiei" “The Double 0” 

One of the Most Sensational Westerns of the Year. 
A Real Triple Bill. 


A Pathe Release 

A SERIAL STARTER 


thing unusual, and it is evident that the Regent 
feels that it has something good. The house 
seems to specialize in the sensational, for the 
slogan is “The House of Thrills,” which is 
perhaps why it is so much interested in this 
serial. Evidently there is nothing wooden 
about the timber queen. 

—P. T. A.— 

Picture Gallery Is 
Lacking in a Punch ” 

We have seen Jewett Bubar do a lot better 
work than this sketch for Ethel Clayton at the 
Imperial. Possibly this may mean something 
when you have seen the story but the time to 
make the impression is before the patron has 
seen the picture and we do not believe that 
Roth and Partington’s customers are going to 
be particularly impressed by three persons look- 
ing at Miss Clayton with no particular expres- 
sion. The picture is meaningless and therefore 
uninteresting so it will not sell tickets. A single 
head of Miss Clayton looking terror stricken 
would have meant much mere in the way of 


interest. This much has been drawn in one of 
Bubar’s off days. Were we Milt Samis we 
would leave him off the display the following 
week as a punishment or better still can the 
sketch and use all type. It is a waste of space 
to put in a meaningless set of portraits, no 
matter how good the portraits may be, and for 
that matter Bubar has put freckles all over 



4 DRAMA OF PAINTED 
PUPPETS. CIRCUMSTAHTIA1 
EVIDENCE MYSTICISM 


ETHEL CLAYTON 
BERTRAM GR4SSBY- 
VERNON STEELE -ZASU PITTS 
MAYME KEi SO- SYLVIA ASM TON 


KEATIRE PICTl'RE STARTS AT 


.Cl(?ammoanl 
, Q>iCHU9 

STARTING- 
TOMORROW 
AT 11-00 
AAV 


A Paramount Release 

AN INEFFECTIVE DRAWING 

Miss Clayton's nose and the man has an eczema 
of the forehead. Bubar at his best is remark- 
ably .good, but this is quite the reverse of his 
best. We think it is one of the worst he has 
ever turned out. Even his lettering is bad. 
Milt might at least have routed the cut for 
type. 

— P. T. A.— 

Outline Title Not 
Given Full Display 

The Apollo theatre, Indianapolis, weakens a 
title through failure to carry through the idea 
in advertising Ethel Clayton in “For the De- 



A Paramount Release 

A WEAKENED TITLE 

fense.” The idea is that the black background 
will carry the white letter through the scene 
cut and that an outline is needed only in the 
white space at the right. The theory is all 
right, but it does not work out in practice be- 
cause the half tone screen does not give a full 
black. This could be vastly improved by out- 
lining each letter, whether it seems to need it 
or not. You cannot always tell just how the 


thing is going to look in the cut and then 
it is too late to correct errors. It looks all 
right in the copy, where the white paint stands 
out against the half tone or photograph like 
a 24-sheet against a church wall, but what the 
public sees is what the cut yields, and only 
that. This is the reason there is so much in- 
effective work done. The artist and manager 
both judge from the cut copy and not from 
what the cut will yield. It may seem an ex- 
cess of caution, but an india ink line around 
each letter of the title would have improved 
this to several times its present value. Artists 
seem to give no heed to color and reduction. 
If a space looks all right in a dead black against 
a dead white, they shoot it through in the bliss- 
ful belief that it will come out all right. The 
wise manager will not pass copy that looks all 
right unless he has reason to believe that it 
will be all right when it finally comes to the 
reader. What the artist shows him sells no 
tickets. What he shows his public is what 
counts. It is important to smash a good title 
home at the first glance and not trust to its 
sinking in gradually. Here the difference in 
color is so marked that the line does not sink in as 
a whole. This is probably more apparent in the 
original newspaper advertisement than it will 
be in the cut shown here, since the latter will 
have the double advantage of a better black 
and a reduction that will close up the halftone 
and give a stronger color. Apart from this the 
example is well done and the artist has not 
hogged all the space from the copy writer. He 
gives room for four lines of type sales and 
the addition of the smaller features. 

— P. T. A.— 

Howard Hooks in 

to National Ads 

About the best hook in to the Paramount 
national advertising is found in this annonce- 
ment from the Howard Theatre, Atlanta. It 
might look a lot prettier all dolled up with a 
pretty cut but it would not have the selling 
force of this direct hook to the Paramount 
program for the opening year. Many magazine 
advertisements have been telling the public of 


The First of the 


41 


GREAT PARAMOUNT RELEASES ARE HERE 

No better picture could be selected to herald 
theiT coming than this wonderful picture with a 
human interest appeal than 


“WHILE 

SATAN 


SLEEPS” 


FEATURING 

JACK HOLT 

A powerful, gripping story of a mao 
who learned to play a bad hand welL 
From the novel “The Parson of Paniroent.” 

OVERTURE— “THE BOASTFUL CAT* 

“ORPHEUS IN THE Aa 

UNDERWORLD"— “Sugar C:rx Pills 

HOWARD ORCHESTRA w^om' 

ENRICO LEJDE, DIRECTOR 


HOWARD THEATRE 


IF IT IS A FARAMOUNT IT IS THE BEST IV TOWN 


A Paramount Release 

A DIRECT HOOK-UP 


the coming 41 Paramount productions and have 
aroused interest in the string of releases. In 
announcing “the first of the 41.” the Howard 
crystallizes all of the interest the magazine has 
excited in the single release with which the 
program starts and puts the full force of the 



September 9, 1922 


MOVING PICTURE WORLD 


123 


drive directly behind “While Satan Sleeps.” 
For this reason the title is held down to give 
greater prominence to the real sales argument. 
Ordinarily the title would call for a better 
display; possibly through the use of more space 
between the lines, but the title here is second- 
ary to the appeal of the 41 and this is given 
all the best of it, and then thrown over to the 
single title. If we had been setting this space 
we think we would have put the word “over- 
ture” in a light line to let the title of the selec- 
tion get the prominence, also cutting down 
“Howard orchestra” and the leader’s name. As 
it is, the top and bottom detract from the title 
— which is the principal sales point. Oustide 
of that we like this composition very well. 

— P. T. A.— 


Los Angeles Artist 
Avoids Usual Error 

Earle Hall Payne sends in a couple of dis- 
plays from the California Theatre, Los Angeles, 
in which his artist demonstrates that he can get 
out a straight illustration without the usual 
fussy ornamentation which detracts from the 
display without excuse. That for “The Dust 
Flower” is particularly good ; not that the figure 
under the tree means anything but it at least 
does not destroy the selling value of the space. 
The mortises are nicely planned and the selling 
box, alongside the girl’s skirt, is well phrased 


Spacious Setting 

Helpful to an Ad 

South Bend, Indiana, has a compositor who 
knows how to get display, and the Blackstone 
has a manager who knows how to profit by 
this advantage. You read this space because 
there is so little to read and because reading is 
made so easy, and when you are through you 
are pretty apt to be sold on the prop- 


Constance 

Talmadge 

and the Follies Beauty Chorus 


It 

Shirts 
To -‘day 


in a comedy of Broadway’s lights 
and Broadway’s frights — 


“Polly the Follies” 

Scat Goes Gloom! 
Scat Goes the Blues! 
Connie has started 
kidding so it’s Hello 
smiles ! ! ! 

TAKE IT from Connie— 

THE LUBE of the Footlights 
EXPLAINS WHY girls leave home; 

BUT WHEN you see her 

DOING THE SIREN -jOF-THE -NILE stunts 

ROBED A LA Pola Negri 

OR CLEOPATRA 

YOU’LL ALSO understand 

WHY Tired Business Men 

NEVER GO HOME! 

SPECIAL ! ! Benson & Ogden 
“The Personality Chaps” 

Oh, How They Can Sing I 




A First National Release 

A GOOD TALMADGE ARGUMENT 





Mary Pickford 
"Doug” Fairbanks 
Charlie Chaplin 


STRONCHEART 


ELINOR'S 

SUPERB ORCHESTRA 


GREAT CONCERTS 
EVERY DAY 


Chadwick' 


GOLDWYN 


Basil Kings! 


A Goldwyn Release 

A LOS ANGELES IMPROVEMENT 


to connect the author in the reader’s mind with 
Earthbound, upon which his screen fame chiefly 
rests. The display is by no means an ideal lay- 
out, but it is far better than the California 
average, and that applies to the State and not 
merely to the house. California has some of 
the finest houses in the country, but some of 
the poorest advertising. It seems to be a matter 
of geography, rather than individual incapacity, 
for the agents are hustlers, but not one seems to 
have the spirit to cut loose from an archaic style 
and do really effective work with an open dis- 
play. The Los Angeles California seems to be 
coming closer to it than the others, but Milt 
Samis still leads, in spite of Bubar’s occasional 
slump. Perhaps Mr. Payne will point the way 
for Los Angeles, but it would pay agents in 
both cities to get and study the Washington, 
Baltimore and Indianapolis Sunday papers. 

— P. T. A.— 

Spoiling the Title 
with Useless Lines 


osition of seeing Connie in this little 
play. It’s a bit late to be playing “Polly 
of the Follies,” but we do not know of 
a picture better suited to the summer season. 
You don’t want to sit through heavy plays. 
You want something light and frothy and 
Polly answers the bill of requirements to the 
last item. It’s not heavy entertainment — it is 
thin and unburdened by much plot, but it gets 
over. The copy is good, but the display is even 
better, because it stands out so well. It is 

rather large — 165 by 3 — but space is prob- 
ably cheap in South Bend, and they get a lot 
back for their investment in publicity because 
they use it so well. It may seem to carry the 
point to excess to argue that summer adver- 
tisements should carry less type and more 
white than winter spaces, but try it for a time 
and sees if it does not bring you results. 


The Garden Theatre, Baltimore, has pro- 
duced an excellent advertisment in this display 
for “Yellow Men and Gold,” other than that 
the title is largely obscured by a design sup- 
posed to be gold coin, but which really is a 
camouflage for the. . lettering. The bottom 
sketch is interesting and artistic, but the od‘d 
title, which would sell of its own weight, does 
not stand out on the space but must be puzzled 
out, letter by letter. It is a mistake to hide so 
good a title behind a cloud. The clinch sketch 
does not help matters much, and this space 
might better have been used to play up the well 
known author, who is now relegated to the 
space between the ship and the wreck in unim- 
portant eight-point lines with little more value 
than six point. The sketch is not needed. It 
will not help to sell. You know that there is 
going to be a last-reel clinch and the pictured 


information does not thrill you. On the other 
hand, Gouveneur Morris has a popular fol- 
lowing which can be sold on his name alone. 
Of the two the name is much to be preferred 
to the sketch. That would have value only as 



A Goldwyn Release 

SPOILING THE TITLE 

an attractor and the bottom sketch does all 
the appeal required to get the space over. The 
selling is well done in “Conflict! Fight! Treas- 
ure ! Explosion ! Danger ! Love ! Could anyone 
ask more in a picture?” You’ll fall for that 
more quickly than a man and woman in the 
same old possessive grab. 


CHRISTMAS IS COMING 

Probably you know that, but 

DO YOU KNOW 

that in Picture Theatre Advertising 
you can find a lot of schemes to hold 
up your business in the dead two 
weeks before the holiday? 

And not only that — 

you can find other schemes for the 
holiday season, any one of which will 
bring in many times the two dollars 
the book costs and you will get 

FREE 

: all the other schemes in the book for mid- 

summer and in between; both ways from 
July 4. Not theory. Not Guesswork. Tried 
and tested ideas. By mail, postpaid, for two 
dollars the copy. 

MOVING PICTURE WORLD 

516 Fifth Avenue New York, N. Y. 

Tall Devil Used 
While Satan Sleeps 

One of the features of the campaign on 
“While Satan Sleeps” at the Howard Theatre, 
Atlanta, was a cutout figure of “His Majesty,” 
forty-two feet long, lying on the ledge of the 
cornice above the theatre, while the still frames 
for lobby display were caldrons presided over 
by cutout figures of the devil. Red lights were 
burned in back of the caldrons, and in the 
foyer was a miniature hell with streamers of 
red and yellow chiffon to suggest the 1 flames. 
These were lighted from below by lamps 
screened by the groundpiece. This was flanked 
by small churches with illuminated windows. 

At each performance the preceeding week 
two of the ushers were projected on the stage 
in clouds of gunpowder smoke. One carried 
a banner for the production and the other a 
similar announcement for the prologue. The 
ushers were dressed in close-fitting union suits 
dyed red. and were permitted to roam about the 
lobby and foyer when not required on the stage. 

A special showing was held for the ministers 
and a better films club of women, and consid- 
erable use was made of their opinions. 

The special stunting had a distinctly good in- 
fluence on the week’s business. 



124 


MOVING PICTURE WORLD 


September 9, 1922 


In the Independent Field 


3o) ROGER FERRI 



Newsy Bits 


The Week in Review 


Trade Notes 


J. F. Cubberly, head of the new 
F. & R. Exchange of Minneapolis, 
announced this week that he will 
release one feature every other week. 
He has signed for the entire A1 
Lichman output. Warner Brothers’ 
product, four Affiliated Distributors’ 
specials, “The Love Slave,” and many 
other pictures. The personnel of the 
F. & R. Exchange includes Tom 
Burke, formerly manager of the Mid- 
land Exchange, and Mark Ross, form- 
erly with First National in that city. 


Joe Horwitz, who is making Hotel 
Wolverine in Detroit his headquarters 
is planning on a big drive in that 
territory. Business in that territory 
has been far from what it should 
have been, but reports from Detroit 
lately indicate a change that indi- 
cate more prosperous times. 


Messrs. Saxe and Hurlbutt, who 
comprise the Favorite Film Company, 
Detroit, this w*eek celebrated their 
second anniversary as Detroit ex- 
ehangemen, having gone to that city 
from Minneapolis. Their exchange 
has made rapid progress and they 
are now negotiating for several big 
productions. 


A definite and complete announce- 
ment concerning the policy to be car- 
ried out by the new Balaban and 
Katz exchange in Chicago is expected 
to be made the latter part of this 
month. 


Warner Brothers this week official- 
ly verified the exclusive announce- 
ment published in Moving Picture 
World last week relative to their 
joining the producers’ division of the 
Motion Picture Producers and Dis- 
tributors of America, Inc., the Will 
Hay organization. 


Morris Schlank, president of An- 
chor Film Corporation of Los An- 
geles, left New York this week for 
a trip back to the Coast. He will visit 
all exchanges en route. On Friday 
and Saturday of this week he stopped 
in Philadelphia and Baltimore. Next 
week he stops in Pittsburgh, Cincin- 
nati and Cleveland. 


Quite a few independent film men 
in New York this week went to 
Rochester to attend the opening of 
the luxurious Eastman Theatre in 
that city on Saturday. The party 
was scheduled to leave Friday night. 


R. D. McDonnell has jointed the 
Arthur C. Bromberg Attractions, Inc., 
of Atlanta, as salesman. He will 
travel out of Charlotte. S. E. Mont- 
gomery, a former newspaper man, 
also has joined Mr. Bromberg’s forces 
and he will cover Alabama and Ten- 
nessee. Others who had joined Brom- 
berg are F. L. Burkhalter and Fred 
H. Kirby. 


H. Rattin, representing the Western 
Pictures Exploitation Company, trav- 
eling out of New York, is making a 
tour of the exchange centres of the 
country. 


Harry Raver is no longer the active 
head or Torino Films, Inc., the com- 
pany’s affairs now being administered 
by Bert Wheeler, who was recently 
elected president of the corporation, 
filling the vacancy caused by the 
resignation of Mr. Raver 


A new exchange opened its doors 
in New York City when the Atlas 
Film Distributing Company announced 
that it was prepared to do business 
with exhibitors in northern New Jer- 
sey and New York City. Rudy Becker 
Is sales manager and I. Bro'dv gen- 
eral manager. 


I N the vernacular of the street, Abe Warner of Warner Brothers, said “a 
good mouthful” when he said that “independent pictures are the sav- 
ing grace for both the motion picture theatre owners and industry*” This 
statement he made in the course of an interview he gave out in a western 
city recently. And because it is so brimful of interesting data, we are re- 
producing the interview in its entirety: 

“There still seems to be a doubt in the minds of theatre owners about 
independent productions as to their value as box-office features,” continued 
Mr. Warner, “and that is because these men cere depending entirely too 
much on the big distributor. Despite this fact, the truthful theatre-owner 
will at once admit that the majority of the greatest box-office features 
during the past season have come from the independent producers. And 
by the greatest I mean those pictures that have actually made big money 
for theatre ozoners. 

“In spite of all that has been said and written about the independent 
picture, in spite of all the discouragement that has been placed in the way 
of the independent exchange man trying to market his pictures, the thea- 
tre oivners have yet to realise that only by encouraging the independent 
picture will their enterprise be saved for the future. The trend of the 
times indicates in no small measure why a great many producers once allied 
to the big distributing organizations are seriously considering the in- 
dependent market, and the day is coming when the independent picture 
will dominate the held. 

“A great many exhibitors have booked independent pictures and they 
have found them to be more profitable than thd regular, formularized 
product they must accept, whether they want to or not. But there are 
still a great many theatre owners who feel that when an independent pic- 
ture is offered to them, they can book it for practically nothing. Them 
days are over. 

“Just because a picture has been independently made does not necessarily 
signify that it’s a piece of junk, to be sold at junk prices. Certainly, no 
sane person expects to go into a high class tailoring establishment to pur- 
chase a suit priced at three figures and talk the manager into the idea that 
the suit is only worth a third of the price cost. The same thing applies 
to independent pictures. If they are big pictures, a fair and just price 
should be paid.” 


HP HE exclusive announcement published in Moving Picture World last 
week relative to Warner Brothers’ affiliation with the producers’ 
division of the Motion Picture Producers and Distributors, Inc., aroused 
much comment in the trade. Since publication of that announcement 
this department has been besieged with numerous questions concerning 
the Hays organization and independents. So far as this writer is able 
to ascertain, under provision of the laws of that organization, independent 
distributors are ineligible. This statement came from an official of that 
organization. The Warners, because of their wholesale production ac- 
tivities, were eligible to membership in the producers’ division of the 
M. P. P. D. 


C HALK up another scoop for that wide-awake ami progressive pro- 
ducer-distributor, Charles C. Burr, head of the Affiliated Distribu- 
tors, Inc. Following publication in this department of reports from ex- 
hibitors who feared that the production of Johnny Hines features meant 
the end of the popular “Torchy” comedies, Mr. Hines reconsidered his 
plans and, after much searching, succeeded in lassooing Ray McKee, 
whom he signed to continue characterizing the character made so famous 
by Johnny. But C. C. didn’t stop there, for information of an authentic 
nature reached this department this week that he had signed Mary Ander- 
son and Charles Murray, the latter a Mack Sennett comedian, to appear 
in the same cast. Unfortunately, however, this department further learns 
that this series unit not be available through State rights exchanges. 


' I 'HE value of a director is decidedly underestimated by most folks in 
this market. Nevertheless, the fact remains that he is a most im- 
portant factor in this end of the business. A good director should be en- 
couraged and this department, for one, will give him every credit to which 
he is entitled, for, after all, he is the big man behind the guns. We re- 
call many famous stars who stepped outside the bounds, believing they 
could direct their own pictures. And without exception all flopped. 


OOD titles may increase the value of satisfactory pictures but cer- 
tainly they should not be accepted as constituting any pardonable rea- 
son for the release of conceded impossible junk. Yet, we notice that a 
number of distributors are resorting to just such tactics. 


Grand & North of Buffalo are plan 
ning big things for the coming seaso 
and have augmented their staff. Thei 
most recent acquisition was Home 
Howard, formerly with Nu-Art in tha 
ciyt. Howard will cover the Syracus 
territory. 


Ben Levine, formerly a First Nat 
ional salesman, has joined the Nu-At 
Exchange, Buffalo, where great thing 
are expected of him, for he is we 
known and popular with theati 
owners. 


A1 Lichtman, head of A1 Liehtma 
Corporation, will be the guest < 
honor of Harry Charnas and his e: 
changes at special dinners and shov 
ings to be given in Pittsburgh. Cii 
cinnati and Detroit, on Sept. 10, 1 
12 and 13. Mr. Lichtman will leat 
New York for Pittsburgh on Saturda 
Sept. 9, for Pittsburgh. 


Federated Exchanges of Americ 
Inc., apparently is renewing its e 
forts to show the industry what it 
capable of doing, for its publicity d 
notes much activity at the New Yoi 
headquarters. Director General J' 
Brandt is now on the Coast. 


It is with regret that this depar 
ment informs independent exchang; 
that the new “Torchy” comedies th 
C. C. Burr will make with Ray M 
Kee starred will not be available ( 
the State rights market. The unde 
standing of this department is th; 
this new series of two-reelers will 1 
distributed through Hodkinson. 


Royal Pictures, Inc., of Philadelph 
is advertising the fact that it has a 
quired a franchise for pictures to 1 
State righted by Amalgamated Pr 
ductions, Inc., of which much h 
been heard lately. However, this d 
partment has been unable to get an; 
thing definite on this enterprise sat 
for the information that Harry Goo< 
mand and Davidson & Katz are i: 
terested. 


From a reliable source comes tl 
information that Harry Sherman 
to pull a comeback. He was report* 
as being in New York, but efforts < 
the part of reporters for this depar 
ment to locate him in places whe 
film men congregate was without r 
suit. 


Ben Amsterdam of Masterpiece Fil 
Attractions, Inc., of Philadelphia h. 
lined up a splendid array of produ 
with which he should have no difi 
culty getting bookings. He recent 
took over the southern New Jers* 
and eastern Pennsylvania rights 
“The Curse of Drink.” which' Web 
& North is State righting. 


Joe Friedman of the Friedman e: 
change in Minneapolis in a statemei 
issued this week in that citv went ( 
record as saying that in h’is opinic 
the coming season in that territoi 
promised to be the greatest in tl 
history of the business there. 


A reader queried this departme 
relative to the standing of Nation 
Exchanges. This department h; 
striven to give some status, but cs 
say only that while some of tl 
branches seem to be operating, tl 
firm has not acquired anv new pi 
tures in a considerably long time. ; 
far as has been made known. 


Fniversal has established a re-iss 
department, according to informatit 
unearthed by this department. Th 
rapidly growing firm is re-issuii 
some of it* big money makers, son 
it is handling through its own o 
fices and others are being releast 
through independent exchanges 


September 9, 1922 


MOVING PICTURE WORLD 


125 



Two Interesting Scenes Taken Especially for Moving Picture World at C. C. Burr’s Glendale, 
L. I., Studio, During Production of “Sure-Fire Flint.” At left: A scene from picture with Johnny 
Hines in action; right: Hines and his fellow-wor kers — D. E. Weshner, Mrs. Kenyon, Doris Ken- 
yon, Director Dell Henderson and Dick Thorpe, production manager. 


Federated Is Ready 
for Its Fall Drive 

Federated Film Exchanges of 
America, Inc., announced this 
week another two-reel comedy 
release that is to be known as the 
“Federated Radio Comedies,” 
which are being produced by Ben 
Wilson at his coast studios, the 
first subject being entitled, 
“Family Affairs,” which has just 
been completed. Wilson is now 
busy preparing for his second 
subject — the work entitled, 
“Money or My Life.” 

The Federated Monte Banks 
Comedies stars Monte Banks, 
who is megaphoning his second 
picture, the title of which will be 
announced shortly. 

The Federated Jo-Rok Come- 
dies are being directed and the 
cast is headed by Joe Rock. The 
first release will be called, “Ali 
Baba,” and the second, “Aladdin.” 


Burr Signs Charley Auerbach Sees Big 

Murray and Others Scarcity of Serials 


C. C. Burr again stepped into 
the limelight this week and added 
another feather to his cap when 
he succeeded in including Charley 
Murray and Mary Anderson to 
affix their signatures to a long 
term contract. These players will 
appear in an all-star company 
that Mr. Burr is organizing to 
produce a series of “Torchy” 
Comedies starring Ray McKee. 
Moving Picture World exclu- 
sively announced the acquisition 
of McKee by Burr several months 
ago, but pending production on 
the second Johnny Flines fea- 
ture, “Sure-Fire Flint,” that pro- 
ducer-distributor temporarily held 
up further negotiations for the 
comedy series. 

Last week he again took up the 
new “Torchy” matter and after 
much dickering succeeded in 
bringing Murray and Anderson 
to terms. Charley Murray is a 
Mack Sennett protege, who has 
recently been touring the vaude- 
ville houses, while Miss Anderson 
has been starring in a number of 
independent features, the last of 
which was Ivan Abramson’s “The 
Wildness of Youth.” 


News that Warner Brothers would 
have a total of 18 productions avail- 
able for state rights distribution 
stimulated much interest during the 
! past week. 


Constance Joslin, formerly with the 
D. W. Griffith forces, this week 
signed with Bruce Mitchell of T. R. 
Coffin Productions to appear in a 
series of pictures that that director 
will make. 


Production on the second of the 
Affiliated Distributors, Inc., “Big 
Six” program, starring Johnny Hines, 
is expected to be started late next 
month. “Sure Fire Flint” was com- 
pleted last week. Dell Henderson, 
director. 


Clarence Brieker, the Coast pro- 
ducer, formerly with the Louis Mayer 
forces, is in town and made it known 
that he will make a series of two- 
1 reel comedies starring Frankie Lee, 
the “American boy.” 


•: Rose Coghlan, the veteran actress, 

doing some splendid work as a 
“hag” in the feature, “Secrets of 
Paris,” that C. C. Burr and Whit- 
man Bennett are jointly turning out 


at the Whitman Bennett studio in 
Yonkers, N. Y. 


Dr. Daniel Carson Goodman, who 
wrote and produced “What’s Wrong 
with the Women?” which Equity is 
State righting, is busily engaged 
writing the story lor the next pro- 
duction he will place in the hands 
of Equity officials for distribution. 


A solicitor for a “yellow sheet” last 
week visited the various studios in 
New York with the rankest holdup 
proposition ever submitted to any- 
body. Fortunately, so far as this 
department is aware, no one 
tumbled. 


Judging from reports from Glov- 
ersville, N. Y., where Blazed Trail 
Productions, Inc., is turning out “Lost 
in a Great City” for Arrow Film 
Corporation distribution, that feature 
will be ready the latter part of 
October. 


Miss Dorothy Phillips, who has 
charge of the Star series that C. B. C. 
Film Sales Corporation is producing 
for R-C Film Corporation distribu-' 
tion, is lining up some excellent ma- 
terial in the way of prominent stars. 


There are now seven big indepen- 
dent producing companies workinv in 
studios in and around New York City. 


A persistent rumor was circulated 
in various circles that .Toe Plunkett, 
managing director of Strand Theatre, 
New York, was to make a series of 
independent features. There is noth- 
ing to this report, and it was denied 
in its entirety by Mr. Plunkett this 
week. 


Manager R. S. Moore, of the Gem 
Theatre, Snyder, Okla., is one of 
those showmen who finds a reason for 
everything. Short while ago he 
booked Arrow Film Corporation’s 
special. “Ten Nights in a Barroom,” 
but lost money on the engagement. 
But he adds: “A wonderful produc- 
tion, much better than book or play. 
I lost money on it on account of hav- 
ing the first tent show of the season 
for competition.” 


“Lone Hand Wilson,” starring Les- 
ter Cuneo, proved the snake’s hip in- 
so-far as Manager Artie Pearson of 
the Auditorium of Melrose, Mass., is 
concerned, for the picture didn’t live 
up to expectations artistically and 
flopped at the box office. He bought 
this one from an exchangeman, but 
says that hereafter he’ll look at every- 
thing before booking. 


‘I Am the Law,” C. C. Burr’s spe- 
cial Edwin Carewe production deal- 
ing with a Northwest subject, is 
breaking records right and leftt, judg- 
ing from reports from exhibitors. 


Louis Auerbach, vice president 
of the Export & Import Film 
Company, Inc., in commenting on 
business prospects, predicts that 
there will be a scarcity of good 
serials this fall. 

“The lengthy depression,” says Mr. 
Auerbach, “scared producers for a 
long time with the result that until 
a short time ago it looked as if there 
would be hardly any new indepen- 
dent product this fall. Signs of busi- 
ness revival brought the motion pic- 
ture men into activity again, with 
the result that the independent mar 
ket is at the present time better 
equipped for record business than ever 


before. National distributing com- 
panies have less product to offer, 
whereas the independents have more 
features of the big-picture class now 
in production than at any time pre- 
viously. 

“The one type of picture which has 
been overlooked,” opines Auerbach, 
“is the serial. There are but few 
serials on the market at the present 
time. It is the smaller houses which 
make up most of the serial business. 
It was the smaller houses which felt 
the depression worst of all. Serial 
business therefore slumped greater 
than other business. But conditions 
"-e now changed. 

“ 'The Jungle Goddess’ is the only 
new serial offered to independents. 



THAN SCORNED 

CHAS . E . BLAN EVIS 

GREAT BROADWAY SUCCESS' 


F 7 ET URI NG- 

ALICE LAKE, ROSEMARY THEBY 

■J.FRANK' GLENDON, PHILO M c COLLOUGH BA8y ADAIR 

RELEASED BY C.BC. FILM SALES CORP. 1600 B'WAy N.yClTX: 


126 


MOVING PICTURE WORLD 


September 9 192. 


Warner to Have Eighteen 

Features During 1922-23 


‘'Why Do Men 
Marry?” Gets 
Press Praise 


One of the most ambitious pro- 
ducing plans attempted by an in- 
dependent organization for the sea- 
son of 1923 was made known by 
Harry M. Warner, of Warner 
Brothers. The W arner organiza- 
tion at this early date have planned 
to produce eighteen pictures for 
next year, and it is declared that 
when the titles of the eighteen 
stories are made known they will 
startle the industry. 

With this announcement the War- 
ner Brothers will become one of the 
largest producing units in the in- 
dustry. To formulate the plans for 
1923, Abe Warner left last week for 
the Warner coast studios to confer 
with his brothers, Sam and Jack, 
both of whom are at present pro- 
ducing several well known novels. 


LIVE NEWS 


Business in Canada is stiil unsettledN 
according to reports brought to New 
York by various buyers. 


According to Harry M. Warner, 
the productions will be made by a 
group of prominent directors, as- 
sisted by a corps of well known 
scenario writers and screen play- 
ers. Sam and Jack Warner will 
head the producing units. 

“We are not ready at present to 
divulge the nature of the stories 
we plan to produce for next year,” 
said Mr. Warner. “But we will 
say that the titles of these stories, 
when they are finally made known, 
will startle the industry. 

“In the production of these pic- 
tures we will spare no expense in 
maintaining the highest production 
standard possible. And we will en- 
gage the best brains and ability 
that money can buy— as far as di- 
rectors, scenario writers and play- 
ers are concerned.” 

For this season the Warner Broth- 
ers will release seven productions, 


three of which are being made by 
Harry Rapf at the coast studios. 
The seven pictures include “The 
Beautiful and Damned,” F. Scott 
Fitzgerald’s novel dealing with the 
flapper, “Main Street,” the novel by 
Sinclair Lewis, “Brass,” the 
Charles G. Norris novel of mar- 
riage and divorce, “Rags to 
Riches” and “Heroes of the 
Street,” both featuring Wesley 
Barry; “Little Church Around the 
Corner,” by Marion Russell, and 
“A Dangerous Adventure,” a wild 
animal picture featuring Grace 
Darmond. 

The directors for these produc- 
tions include E. Mason Hopper, 
Sidney Franklin, Wallace Worsley, 
William Beaudine ; and the scenario 
writers are Julien Josephson, Monte 
M. Katterjohn, Olga Prinzlau, 
Edmund Goulding Mildred Con- 
sidine and Isabel Johnston. 


“Fatty” Karr Signs 

with T. Ro Coffin 


That independent exchanges axe 
looking forward to a big season is 
evident from the extensive exploita- 
tion drive some of the bigger firms 
are conducting. 

S J Kollo, treasurer of Clark Cor- 
nelius Corporation, figured in an au- 
tomobile accident in New York last 
Sunday and sustained P al o f ol inpir 
ies. Latest reports had it that he was 
recovering rapidly. 

Ivan Abramson announced this week 
that the first shipment of prints on 
his initial feature, Wildness of 
Youth,” which he made for ri ™ p ' 1 ' ■; 
Exchanges, Inc., was sent out to the 
exchanges this week. 

The Reliance Film Exchange of 
Washington will absorb the Rialto 
Productions. Inc., in that city. Nat 
Sauber of Rialto will be retained as 
general manager. 

Harry Levey is now handling the 

non-theatrical Pictures that Alexand- 
er Film Company of New York have 
been releasing in the past, according 
to announcement made this week. 


Balaban & Katz of Chicago this 
week signed a contract with Warner 
Brothers, whereby the former ac- 
quired the rights to “Your Best 
Friend” in Northern Illinois. A. H. 
Blank Enterprises of Omaha bought 
the same picture for Nebraska and 
Iowa. 


Edward Grossman, according to a 
despatch from Chicago, has been ap- 
pointed the Windy City manager for 
A1 Liohtman Corporation. Grossman 
is making his headquarters with Cel- 
ebrated Film Players Corporation, of 
which .Toe Friedman is the head, the 
latter holding the Lichtman franchise 
for that territory. 


Nathan Hirsh, president of Aywon 
Film Corporation, announced this 
week that he had completed the titl- 
ing of his initial Maeiste picture, 
which he will release as “The Un- 
conquered.” 


Special Representative Tossey, of 
Arrow Film Corporation, in a chat 
with a representative of this depart- 
ment this week, expressed it as his 
opinion that conditions in the South 
are improving faster than any other 
section he has visited. The South 
was particularly hard hit by the in- 
dustrial depression. 


Los Angeles (Special). — “Fat- 
ty” Karr, who has attracted much 
attention of late from various 
producers, who aspire to land him 
the laurels forfeited by “Fatty” 
Arbuckle, this week signed a 
three-year contract with the T. R. 
Coffin Productions, which will 
star him in a series of two-reel 
“human interest” comedies, the 
first of which will be ready for 
release about the first of Novem- 
ber, according to exclusive an- 
nouncement made to the local 
representative of Moving Picture 
World this week. Bruce Mitch- 
ell, who has been directing the 
Monte Banks comedies and who 
is now in New York, will produce 
the comedies. In fact, Mitchell 
signed him this week through his 
local representative. 

Production will be at the Cos- 
mos Art Studios in Hollywood. 
Mr. Mitchell is expected back in 
this city the latter part of Sep- 
tember and production will be 
started immediately. Late this 
week Mr. Mitchell wired his 
Coast office that he had completed 
releasing arrangements with 
Franklyn O. Backer, president of 
East Coast Productions, Inc., of 
New York, which will dispose of 
the comedies on the State rights 
basis. Karr is best known for his 
work in Universal’s “Human 
Hearts,” “Big Stakes,” and “Omar 
the Tentmaker.” 

Toe Brandt, director general of 
Federated Film Exchanges of Amer- 
ica, Inc., arrived in this city this 
week. He had lengthy conferences 
with the various Federated producers 
here. Ben Wilson, one of the pro- 
ducers who is making two-reel com- 
edies for Federated, is very much 
enthused over future prospects of 
Federated. 


Lou Baum, recently promoted to 
the Vice Presidency of Equity Pic- 
tures Corporation, is in California. 
The early part of the current week 
he spent in Los Angeles, going to 
San Francisco from here. He is on 
the road selling territorial rights to 
Equity’s feature. “What’s Wrong 
With The Women?” 


Harrv Ranf. having completed two 
pictures for Warner, is now busily 
perfecting plans for “Brass.” which 
he will make at the Warner studios, 
which right now are being extensive- 
ly altered and enlarged. 


Ben Wilson is buving original 
stories for William Fairbanks, his 
new Western star. He already has 
turned over the first William Fair- 
banks feature to his distributor. 
Arrow Film Corporation. 


Clarence Bricker, of Clarence Briek- 
er Productions, Inc., who is in New 
York, wired this week that he had 
signed with East Coast Productions, 
Inc., for the distribution of his new 
series of two-reel comedies starring 
Frankie Lee, the American boy. 


Marie Prevost will be starred in 
two more pictures that Harry Rapf 
will make for Warner Brothers’ dis- 
tribution at the Warner studios. 


Lon Chaney will be starred in a 
series of special independent pictures 
as soon as he has completed his next 
big picture. “The Hunchback of 
Notre Dame,” for Universal, accord- 
ing to reliable reports. 


“Only A Shop Girl,” the next melo- 
drama on the “Rix Six” schedule of 
C. B. C. Film Sales Corporation, is 
scheduled for release the early part 
of October. Production is virtually 
completed. 


The local exchanges are looking 
forward to an unusual year, the ex- 
changemen being of the belief that 
if they don't make money this coming 
season they’ll never cash in. 


Eddie Lyons has started work on 
the first of the new series of two-reel 
comedies that he will release through 
Arrow Film Corporation. 


One interesting development at 
studios where independent produc- 
tions are being made brings forth 
the impression that the independents 
are leaving nothing undone in the 
way of getting the proper sets. Some 
of the pictures here have unusually 
big sets. 


“The Country Flapper.” with Dor- 
othy Gish, a Producers Security Cor- 
poration picture, onens at the Al- 
hambra here on Labor Day. 


The exclusive announcement pub- 
lished in Moving Picture World last 
week that Warner Rrothers had join- 
ed the Will Hays organization has 
created much comment among inde- 
pendent producers. 


The first special production o 
Unity Pictures, Inc., “Why D< 
Men Marry?” was screened for th 
staff at the Unity offices, 723 Seventi 
avenue, New York, Monday after 
noon, the final cutting, titling an< 
editing having been completed las 
week. The picture had been show: 
a number of times before, but th 
first formal screening of the com 
pleted film was given on Monday. 

The work of Edy Darclae, wh 
heads the all-star cast in this pic 
ture, was regarded as good, nc 
only by the members of the Unit 
organization, but by all who wit 
nessed the screening, and several o 
these men prominent in the in 
dependent film field. It is believe 
that Miss Darclae will score a 
even greater success in this pic 
ture than she did in the Fox filr 
spectacle, “Nero,” in which she play 
ed a prominent female role. 

“Why Do Men Marry?” is 
modern story of society an 
domestic life. The society atmo; 
phere presents a logical opportunit 
for lavish sets and gowns. A nei 
creation is worn by Miss Darclae i 
practically every sequence of th 
picture. 

John J. Hayes Signs 
Bertschy 

To fill the vacancy created b 
the resignation of Julius Singe: 
President John J. Hayes, of th 
Pacific Film Company, Inc., c 
Culver City, Cal., announces th 
appointment of Robert Bertsch 
as eastern representative. 

Mr. Bertschy was formed 
manager of Warner’s Alban 
(N. Y.) branch and is well-know 
in State rights circles. He wi 
have his office with Williai 
Alexander. According to M 
Hayes, Mr. Singer resigned t 
formulate a consolidation of Stat 
rights exchange managers fc 
booking purposes. 


C. B. C. Film Is Sol< 
In Canada 

Canadian rights were sold th 
week on the new series of Hal 
room Boys Comedies. C. B. ( 
Film Sales Corporation, which 
distributing this popular series c 
two-reelers. signed contracts wil 
Regal Films of Toronto, where! 
that company takes over the relea 
ing rights to the 1922-23 serit 
throughout Canada. 


FEDERATED 
FILM EXCHANGES 
BROADCASTING 



TUNE IN (ffe> 


SV pi ember 9, I'd 


MOVING PICTURE 


WORLD 


\>J 




Written and Produced by 

Daniel Carson Goodman 


Don’t- 


-d o n 


-DON’T 


;olid this Fall until you see the biggest Independent produc- 
ion in years— “WHAT’S WRONG WITH THE WOMEN.” 
You’ll regret it if you do, just as surely as night follows day. 
The biggest first run theatres throughout the entire country 
vill play “WHAT’S WRONG WITH THE WOMEN.” 

26 of them have already spoken for it and this, weeks and 
veeks before release date. 

No picture ever presented on the Independent market com- 
)ares to “WHAT’S WRONG WITH THE WOMEN”"lmd 
ew of the biggest super specials of the season released by the 
argest distributing companies can beat it. 

And the biggest thing about the picture is that THE 
>ICTURE MUST SELL ITSELF TO YOU on its merits as a 
iroduction and as a box office winner. 

That’s the way to buy pictures. Make all other producers 
r distributors offer their pictures to you on the SAME basis. 

See “WHAT’S WRONG WITH THE WOMEN” and see it 
uick. Ask your nearest Independent Exchange or communicate 
irectly with Equity and be sure to ask for a copy of the greatest 
ampaign book ever put out for any Independent picture in 
istory. 

iQUITY PICTURES CORPORATION 

23 7th AVENUE NEW YORK CITY 




128 


MOVING PICTURE WORLD 


September 9, 1922 


Famous Players, Ltd., Gets 

Equity’s Goodman Film 


“What’s Wrong With the 
Women?” Daniel Carson Good- 
man’s production for release on 
the independent market through 
Equity Pictures Corporation, will 
be issued to Canadian exhibitors 
through the Famous Players 
Film Service, Ltd., of Toronto, 
Canada. This sale was consum- 
mated recently between Abbe 
Cohn, of the Canadian exchange, 
and Louis Baum, vice president 
of Equity, who is now on a tour 
of exchanges in the interest of 
the Goodman picture. 

The opinion of Mr. Cohn on 
this unusual production coincided 
with those of Mr. Sam Zierler, of 
New York; Sam Grand, of Bos- 
ton; Joe Friedman, of Chicago, 
and Ben Amsterdam, of Philadel- 
phia, four leading independent 
exchangeman, who have already 
purchased the picture for their 
respective territories. “It is 
seldom,” stated Mr. Cohn, “that 
I have agreed so perfectly with 
the trade paper critics in their 
opinion of a picture. The re- 
views I had read on this picture 
naturally lead me to expect one 
of the biggest independent pro- 
ductions of many years and I 
entered the projection room thor- 
oughly convinced that the produc- 


Announcement was made this 
week by Producers Security Cor- 
poration that it will release “Madame 
Sans Gene” on the State rights 
basis. This statement virtually sets 
aside certain rumors relative to the 
intentions of several program com- 
panies releasing such a picture. 

“Madame Sans Gene” ranks as 
one of the most famous stories and 
also one of the best book sellers. 
In Europe Sarah Bernhardt im- 
mortalized the character, while in 
America Amelia Bingham made that 
role famous. 

Producers Security Corporation 
contends this feature will rank 
among the best of the year. Aubrey 
Kennedy produced this picture while 
Margaret Mayo titled it. 

Sam Werner of St. Louis has com- 
pleted his plans for the ensuing year 
and right now he is taking a trip 
through his territory, personally in- 
terviewing exhibitors to whom he is 
submitting a novel booking proposi- 
tion. 


News of the expansion of the Sol 
Lesser-Mike Rosenberg production 
activities on the Coast cheered the 
New York offices of the Western Pic- 
tures Exploitation Company, whose 
forces have been working overtime, 
but have been quietly delivering the 
goods. 

A rumor was circulated in New 
York this week that C. C. Burr was 
about to launch an independent ex- 
change in that city. However, there 
is absolutely no truth whatsoever in 
this canard, for Mr. Burr is perfectly 
satisfied with the releasing arrange- 
ments he has with Sam Zierler of 
Commonwealth Pictures Corporation. 
Sam Zierler is one of the most ag- 
gressive and progressive exchangemen 
in this country and it would be folly 
for any national distributor doing 
business with Zierler to attempt to 


tion would have to be 100 per 
cent, from every standpoint in 
order to enthuse me. I found it 
just that. Seldom have I seen a 
picture that shows such a keen 
knowledge of box-office values on 
the part of its producer. There 
is an appeal here for every class 
of people, and people of every 
age. It is a story which leaves 
a profound impression upon the 
mind, yet first and foremost it is 
entertainment, not preachment.” 

Mr. Baum, vice president of 
Equity, is now in San Francisco. 
According to latest reports from 
him, many sales are pending on 
“What’s Wrong With the 
Women?” which, when consum- 
mated, will come near to estab- 
lishing a sales record on the inde- 
pendent market. In every case 
where the picture was screened, 
the opinions were unanimous, 
especially on the point of its uni- 
versality of appeal. It has never 
been characterized as a “man’s” 
picture or a “woman’s” picture, or 
a “small town” or “big city” draw- 
ing card, but rather as a special 
of general appeal. 

“The need of big special pro- 
ductions,” states Mr. Baum, “is 
just as acute in the independent 
market as it is in the national 


handle the distribution in the metro- 
politan district. 


Just what has happened to M. H. 
Burnside’s plans relative to the State 
rights distribution of “Yankee Doodle 
Jr.,” one of the best bets on the 
market, is still a mystery, for several 
exchangemen who have sought to buy 
the picture during the past week 
were unable to even get in touch with 
Mr. Burnside. 


“Rich Men’s Wives,” the first of 
the A1 Liehtman Preferred Pictures, 
will have day and date showings at 
the Liberty Theatre, Portland, and 
the Coliseum. Seattle, September 16. 
The Liehtman product is distributed 
through De Luxe for the four North- 
west states. A1 Rosenberg is the local 
manager. 


The Seattle Educational should be 
flying a pennant from the roof these 
days, with the bookings of the entire 
1922-1923 product for first runs, in all 
key cities in the Pacific Northwest. 
J. A. Gage is the live wire manager 
of the lcrcal exchange. 


L. N. Walton, manager of the Butte 
Exchange, Greater Features, Inc., of 
Seattle, since its opening, has found 
it necessary to return to the Coast on 
account of his health. He has been 
given charge of the Oregon territory, 
with headquarters in Portland. Paul 
Schulz, an old time theatre and ex- 
changeman, formerly manager of 
three downtown houses in Seattle, 
and more recently salesman for one of 
the larger national distributing cor- 
porations, will be the new manager in 
Butte. 


Equity Sale 

“What’s Wrong With the 
Women?” Daniel Carson Good- 
man’s production, will be distri- 
buted in Western Pennsylvania 
and West Virginia by the Colum- 
bia Film Service, of Pittsburgh. 


distribution field. The State right 
exchange looks upon a production 
that can be conscientiously 
offered as a ‘special’ as a life- 
saver and this is the reason that 
‘What’s Wrong With the 
Women?’ has been so well re- 
ceived by the exchangemen who 
have seen it. There is a plentiful 
supply of mediocre, ‘program’ pic- 
tures, but they are the curse of 
the independent market just as 
they are in the national distribu- 
tion field.” 

While Mr. Baum is touring the 
exchange centers, the Equity Pic- 
tures advertising department is 
getting into full swing with their 
advertising and publicity cam- 
paign which will launch the pic- 
ture with a publicity impetus sel- 
dom equalled in the history of the 
independent field. 


That the biggest and best 
theatres are opening more and 
more to good independent fea- 
tures is proved once again this 
week with word that the premiere 
of “More to Be Pitied” will take 
place at the Randolph Theatre, 
Chicago. This C. B. C. feature 
has been booked into the Ran- 
dolph for a run, starting Sunday, 
September 3. This is an impor- 
tant move in the independent 
field, the Randolph being one of 
Chicago’s best long-run houses at 
the present time, playing program 
features. It is the first time in 
its film history that this theatre 
has booked an independent 
feature, the management booking 
“More to Be Pitied” on its merits 
as a box-office picture, because it 
was convinced that this is one of 
the big pictures of the season, 
and good for a big first run. 

Booker Mitchell of Loew's Metro- 
politan circuit, booked Producers Se- 
curity Corporation’s “The Country 
Flapper,” starring Dorothy Gish, on 
the tip given by this department. And 
he’s darn glad he did, for when that 
picture played the New York Thea- 
tre and Roof on Tuesday, Aug. 28, 
there was a heavy turnaway. “As a 
consequence, the picture will play the 
entire Loew circuit. 


Arthur Whyte, who is booking pic- 
tures for the B. F. Keith houses, is 
giving the independent pictures the 
once-over and grabbing all the good 
lookers in sight. 


Lou Berman of Independent Film 
Corporation of Philadelphia, after 
considerable dickering, finally got a 
Boardwalk theatre to show ‘ Warner 
Brother’s Harry Rapf feature, “School 
Days.” in Atlantic City. N. J. With 
the weather break in favor of theatre 
patronage, the picture jammed the 
house, despite the opposition of 
“Blood and Sand” at the Virginia 
Theatre, and at the Colonial Theatre, 
in the immediate vicinity. 


The Jack Dempsey-Georges Carpen- 
tier fight was fought in Jersey City 
a year ago last July 2. but that ap- 
parently doesn’t mean a thing, for 
the reason that the pictures of that 
fight are still drawing big houses, 
particularly in the South, whore it is 
being road-showed with great finan- 
cial success to distributor and ex- 
hibitors. 


Big Staff at Work on 
New North Feature 

A special staff of six has been 
engaged by L. Lawrence Weber 
& Bobby North to assist Will 
Nigh and Ben Behrens, his asso- 
ciate, in cutting the 100,000 feet 
of film shot on the director’s 
latest picture — “Notoriety.” 
Closed quarters in the film room 
adjoining Weber & North’s offices 
were assigned for the work. 

The job of eliminating footage 
from the thousand reels down to 
seven — which will probably be the 
finished length of the picture, is 
nothing unusual in Nigh’s life as 
director. The independent direc- 
tor has always made it a point to 
over-shoot, as it assures him a 
wide latitude of choice for the 
final form of the picture. He 
took excess footage on “Why 
Girls Leave Home” and “School- 
days,” and his wisdom in filming 
100 times the necessary footage 
was proven in the finished 
product. 


“Ashamed of Parents.” a Warner 
feature that wasn’t put down as like- 
ly to break records, is proving a big 
surprise everywhere, for it is getting 
big money at the box office and is 
entertaining to the point that the 
folks go out talking about it. Any- 
way, that’s the experience of Jack 
Kairns in Detroit. 


“Rich Men’s Wives.” the Ben Schul- 
berg feature which A1 Liehtman Cor- 
poration is distributing, showed to 
wonderful business at Peter Adam's 
TT. S. Theatre in Paterson, N. J., last 
week, business holding up all week. 

FIGURE 
IT OUT 

If Will Nigh and only 
ONE Star could make a 
Box Office Gold-Mine 
like “SCHOOLDAYS” 

What Can Will Nigh and 
TEN Stars make? 


Answer : 

“NOTORIETY” 


COUNT THE STARS 

MAURINE POWERS 
MARY ALDEN 
ROO LA ROCQUE 
GEO. HACKATHORNE 
J. BARNEY SHERRY 
MONA LISA 
RICHARO TRAVERS 
IDA WATERMAN 
WM. H. TOOKER 
ANDERS RANOOLF 


Ready for Independent 
Release in September by 

L. LAWRENCE WEBER 
and BOBBY NORTH 

1600 Broadway N. Y. City 


Will State Right 

“Madame Sans Gene” 


Chicago House Books 
First S. R. Feature 



September 9, 1922 


MOVING PICTURE WORLD 


129 


CLARENCE BRICKER PRODUCTIONS 

W. L. BLENKIRON, Pres. 

ANNOUNCE 

FRANK IF, 

LEE 

AMERICA'S MIRACLE BOY 
OF THE SCREEN 

IN A SERIES OF TWO 
REEL COMEDIES 
DE LUXE 

DISTRIBUTED BY 

EAST COAST PRODUCTIONS, Inc. 

FRANKLYN E. BACKER, Pres. 

TIMES BUILDING NEW YORK 





130 


MOVING PICTURE WORLD 


September 9, 1922 


Backer Closes Big Deal 

with Mitchell-Bricker 


Three important deals were 
consummated this week by 
Franklyn E. Backer, president of 
East Coast Productions, Inc., in- 
volving three series of two-reel 
comedies. The final contracts 
were not signed until midnight on 
Tuesday in the spacious offices of 
East Coast Productions, Inc., in 
the Times Building. Involved in 
the deal were Bruce Mitchell and 
Clarence Bricker, two well-known 
comedy directors from the coast, 
who came to New York pur- 
posely to close this deal. As a 
result of the deal, East Coast will 
distribute, on the State rights 
basis, a special series of two-reel 
Crescent comedies with all-star 
casts, and a new series starring 
“Fatty” Karr, who is being 
boosted for the laurels formerly 
possessed by “Fatty” Arbuckle, 
and the Frankie Lee series, 
starring Frankie Lee, the “Amer- 
ican Boy.” 

Mr. Mitchell, who has been pro- 
ducing the Monty Banks comedies 
for Ben Wilson, will direct the 
Crescent and Karr comedies, 
which will be produced by T. R. 
Coffin, of Los Angeles. This 
series will include six pictures, 
four of which are already com- 
pleted. These are “Easy Pickin’,” 
“The Colorado Knight,” “Nobody 
There” and “Follow Suit.” 
“Fatty” Karr, who has appeared 
ir, “Fluman Hearts,” “Omar, the 
Tentmaker” and other specials, 
was signed in Los Angeles this 
week by a representative of Mr. 
Mitchell, according to a telegram 
received by this department. He 
has been placed under a three- 
year contract and will make a 
series of pictures that will be re- 
leased at the rate of one a month. 

Mr. Bricker is also well-known 
as a director of comedies and in 
landing Frankie Lee, one of the 
cleverest boy actors on the stage 
or screen, he has scored an effec- 
tive scoop. Franklie Lee will be 
remembered for his splendid work 
in “The Miracle Man.” He has 
appeared in many pictures. He is 
12 years old. The series will con- 
stitute 12 two-reelers, the first of 
which will be released on Novem- 
ber 15. 




BRUCE MITCHELL, FRANKLYN E. BACKER AND CLARENCE 

BRICKER. 

Aronson Launches 

New Organization 


News of interest to independent 
producers of motion pictures is 
contained in the announcement by 
Alexander S. Aronson of the 
launching of an extensive busi- 
ness organization devoted entirely 
to important services which were, 
it is said, heretofore not available 
in any company to the independ- 
ent producer seeking adequate 
distributing arrangements. 

Mr. Aronson resigned as gen- 
eral sales manager and vice presi- 
dent of Goldwyn Distributing 
Corporation earlier in the year to 
perfect the details of his own 
company to render service to in- 
dependent producers in placing 
product for distribution, con- 
trolling sales, auditing and field 
selling. 

In addition to arranging distri- 
bution this organization will con- 
trol all sales by the approval of 
contracts, by enforcing play dates 
and through a competent auditing 
staff in the field it will check up 
local exchanges so that the in- 
dependent may secure what is 
coming to him from each booking. 

Mr. Aronson states that his 
organization will work actively in 
the field watching every first run 
situation and conferring with the 
distributor’s selling force in the 
exchanges so that product may 


be placed in the theatres with the 
maximum benefit to the producer 
and so that unsold territories may 
be followed up. 

A capable foreign department 
will look after the disposition of 


Lesser Will 
Produce on 
a Big Scale 

One of the biggest independent 
production deals of the year has 
just been consummated by the 
Principal Pictures Corporation, 
by which this organization will 
produce and release eight features 
during the year. Michael Rosen- 
berg, secretary and Western 
manager of the organization, has 
arranged with Irving Cummings 
to produce a series of three big 
features, starting with “Chicago 
Sal,” an original story by Harvey 
Gates, author of "Hell Morgan’s 
Girl,” “Hurricane’s Gal” and other 
well-known screen stories. 

Elinor Glyn’s story, “The 
World’s a Stage,” directed by 
Colin Campbell, and featuring 
Dorothy Phillips, Bruce McCrea 
and Kenneth Harlan, will be the 
first of the series of eight produc- 
tions to be distributed. 

world rights on independent 
product. Other departments of 
the new company include ex- 
ploitation and booking of stars or 
featured players. 


A1 Lichtman to 


Tour Three States 


A1 Lichtman, president of the 
A! Lichtman Corporation, and 
vice president of Preferred Pic- 
tures, Inc., will be the guest of 
honor at a series of exhibitor 
gatherings to be held in three 
states early in September. 

The meetings are being ar- 
ranged by Harry L. Charnas, 
president of the A1 Lichtman ex- 
change and of the Standard Film 


the Lichtman service in Western 
Pennsylvania, Southern Michigan. 
Northern and Southern Ohio. 

At these meetings, which will 
be held in leading theatres of the 
cities visited, “Rich Men’s Wives,’ 1 
the initial release of the A1 Licht- 
man Corporation, will be screened. 

Mr. Lichtman plans to leave 
New York Saturday, September 9. 
Service Company, to inaugurate 


Weber-North Will 

Build New Studio 


It was learned this week that 
the independent producing and 
distributing firm of L. Lawrence 
W r eber & Bobby North are re- 
ceiving estimates and blue-prints 
from architects and contractors 
on plans for a studio to be ex- 
clusively used for Weber & North 
productions during the coming 
season. The ownership of their 
own studio was considered an 
advisable step by the producers 
in view of the extensive program 
of releases planned. 

The step suggested itself after 
Will Nigh completed his latest 


special production, “Notoriety,” 
for Weber & North. An Eastern 
studio was rented for more than 
two months. The studio was fully 
equipped for an average feature, 
but inadequate for the extra de- 
mands of an ambitious produc- 
tion like “Notoriety.” Special sets 
and effects were necessary, as 
Nigh’s property plans on the pic- 
ture called for original settings. 
A huge courtroom scene in par- 
ticular, which carries one of the 
big moments in the action was the 
first special job that confronted 
Nigh’s staff. 


SPECIAL 

Get an autographed copy of Richardson’s 
new fourth edition 

Handbook of Projection 

by sending in your order direct to this com- 
pany before September 30, 1922. 

Copies ordered after that date will not be 
autographed. 

Price $6.00 post paid 


Chalmers Publishing Company 


516 Fifth Avenue 


New York City 


September 9, 1922 


MOVING PICTURE WORLD 


131 


Arrow’s September Plans 

Ready; Sales Drive Begins 


The plans for “Arrow Month” 
—September — have now been per- 
fected and Dr. W. E. Shallen- 
berger, president of the organiza- 
tion, and his associates expect to 
have the sales drive well under 
way within the next few days. 

The first big event of “Arrow 
Month” will be the premier pre- 
sentation of “Night Life in Holly- 
wood” at Woods Theatre, Atlan- 
tic City, which will be backed up 
by an extensive advertising and 
exploitation campaign. Arrow’s 
department of advertising and ex- 
ploitation will assist Dave Stark- 
man, manager of Woods Theatre, 
and it is said to be expected that 
big results will be achieved. Fol- 
lowing the engagement of “Night 
Life in Hollywood” at Woods 
Theatre, it will play an equally 
important engagement at H. C. 
Horater’s Alhambra Theatre in 
Toledo, where once again the 
house management will be as- 
sisted by Arrow’s staff of ex- 
ploiteers. 


September will also see the be- 
ginning of the campaign on the 
William Fairbanks series, recently 
acquired by Arrow Film Corpora- 
tion. The first of this series— 
“Peaceful Peters” — has been com- 
pleted by Ben Wilson in his 
Hollywood studios, and a print is 
now on the way East. Camera 
work has begun on the second 
picture — “The Sheriff of Sun 
Dog” — under the direction of 
Lewis King, who also wielded the 
megaphone for the first produc- 
tion, and who, it is expected, will 
direct the remainder of the series. 

A trade paper campaign has 
been mapped out for the Wiiliam 
Fairbanks series, which is said 
to be possessed of strong appeal 
and which is expected to create 
great interest in the production. 
Arrow has also prepared, in con- 
junction with this campaign, a 
brochure of exceptional merit, it 
is said. 

This brochure, which will be 
mailed to every independent ex- 


change man in the United States, 
will be followed up by a novelty 
mailer and this in turn will be 
backed up by an extensive cam- 
paign of direct sales letters, both 
to the exhibitor and to the ex- 
change man. 

Another feature of “Arrow 
Month” will be marked by the 
beginning of active production 
work on “Lost in a Big City,” 
which, under the direction of 
George Irving, will represent 
Blazed Trail’s second important 
contribution to the Arrow release 
list. “Lost in a Big City” will be 
made at Gloversville, New York, 
and Arrow expects that it will 
prove as great a box-office attrac- 
tion as did “Ten Nights in a Bar- 
room,” which was created by the 
same organization, also for Arrow 
release. It has the benefit of the 
same scenarist, L. Case Russell, 
the same star, John Lowell; and 
a cast made up of many popular 
favorites. 


Buy Series 


Blumenthal to Bring 
New Foreign Film 

Ben Blumenthal, president of 
the Export & Import Film Com- 
pany, and also the Hamilton 
Theatrical Corporation, is now on 
his way to America after a four 
months’ stay in Europe. Pola 
Negri, the famous continental 
star, is coming over with him to 
make her first American produc- 
tion for Paramount. 

Louis Auerbach, of Export & 
Import, has just received a cable- 
gram from Blumenthal advising 
him of the purchase for United 
States, of a super-feature, a print 
of which he is bringing along. 

What an exhibitor pays for a pic- 
ture counts a lot when he sits down 
to give his opinion, judging from the 
statements that have poured into this 
department from the theatre owners. 
And the criticisms should be viewed 
from that view. 


“Go to the Movies” week in Minne- 
apolis and adjacent territory proved 
a humdinger for State rights ex- 
changemen in that territory. Some 
recorded the biggest week in the his- 
tory of the business there. The cam- 
paign was cleverly exploited locally 
and went over strong. 


Arrow Film Corporation, in pushing 
“Arrow Month’’ (September), is co- 
operating with the local exchangemen 
and getting out a line of accessories 
that are proving good pullers. 


Joe Brandt Finds 

State Right Boom 

Joe Brandt, president of the C. B. C. Film Sales Corporation, this week 
completed a trip westward which consumed an entire month, arriving at 
the West Coast production centre where C. B. C.’s feature and short pro- 
gram releases are being made. 

Mr. Brandt left the New York office a month ago with the intention of 
so prolonging his trip westward as to give him an opportunity of stopping 
over enroute at all the principal cities and discussing there with exchange- 
men, exhibitors, and other members of the industry, just what the Fall 
outlook is and what are its real needs. 

All this with the purpose in view of going through to the Coast and 
spending sufficient time there to go over in detail with Harry Cohn, in 
charge of C. B. C.’s entire production forces, the results of his observa- 
tions and applying them to future production. 

Mr. Brandt found in almost every city he visited a marked optimism, 
and, according to word received from him, all branches of the industry 
— producers, exchangemen, exhibitors, trade paper men— seem to feel that 
the coming season will be one of the biggest and most successful for some 
time past. Apparently the tide has turned, he says, to so marked a degree 
that big plans are afoot for this season, buyers are lining up big in- 
dependent product — and exhibitors seem to be convinced to a greater de- 
gree than ever before that it is to their advantage to leave a sufficient 
number of open dates for the booking of big independent product. 

Throughout the Middlewest he reports an ever-present need for two- 
reel comedies, but adds that standards in these are growing ever higher 
and that buyers are demanding “class” — good stories, continuity, sets, play- 
ers with real popularity, and good direction. The day of the comedy 
“when anything is funny” is definitely past, he says. Buyers convinced 
him that the same thought must be given to production of comedies and 
other short releases as to real features. 

Big independent productions are in demand, he says, and he had proved 
to him one of the things he set out to substantiate — namely, that melo- 
dramas are wanted. In Pittsburgh, Buffalo, Cleveland, Cincinnati, Mil- 
waukee, all the cities he visited, in fact, he found that it was the melo- 
dramas with titles with a real box-office pull, that were cleaning up— “Ten 
Nights In a Barroom,” “Why Girls Leave Home,” “Where Is My Wander- 
ing^ Boy” and that for this reason interest was high in “More To Be 
Pitied” and in the other of C. B. C.’s “Six Box Office Winners.” He 
met the highest praise everywhere for this feature. 

He also found a great demand for good single reels along novel lines 
and these, too, must be of a high-class calibre. In fact, the entire tone 
of the independent field is such, he found, as to warrant the highest 
optimism, because it is ever more toward the basis that only the best 
“goes” and for that reason is winning the co-operation of the best ex- 
hibitors. 

He secured several specific hints on production, distribution, and ex- 
ploitation, and, on the coast is now engaged in using them in a practical 
way in the production Hallroom Boys Comedies, the popular C. B. C. 
two-reelers, and on “Only a Shopgirl,” the second of C. B. C.’s feature 
series. 


Harry Thomas, of the Thomas 
Film Company, Washington, D. C., 
has purchased from East Coast 
Productions, Inc., the rights of 
the J. B. Warner series for 
Delaware, Maryland, the District 
of Columbia and Virginia. 


Abe Warner of Warner Brothers 
left this week for the Warner studios 
on the Coast, where he will confer 
with his brothers, Sam and Jack, 
relative to production plans for the 
coming season. Elsewhere in this 
section appears Warners Brothers’ an- 
nouncement that they will release 18 
productions in 1922-23. 


’Changemen Plugging 

“Sure-Fire Flint” 


The manner in which C. C. Burr 
intends exploiting Johnny Hines’ 
latest, “Sure-Fire Flint,” was dis- 
closed this week when it was an- 
nounced in the Affiliated offices 
that all exchanges who had con- 
tracted to distribute “Sure-Fire 
Flint” had arranged to engage 
special exploitation men. 

This arrangement of special 
exploitation experts to devote 
their time exclusively towards the 
selling of the picture to the public 
was specifically agreed to because 


of the wealth of exploitation 
possibilities that “Sure-Fire Flint” 
possesses, and also because of the 
many novelty tie-ups that Burr 
is putting out for exhibitor distri- 
bution. These include 14-inch 
Walking Dolls, which bear the 
imprint: “Ima Walker says take 
a hint and see Johnny Hines in 
‘Sure-Fire Flint;’” feather jacks, 
which explode when hurled to the 
ground; specially prepared 
matches and match-boxes also 
bearing suitable imprint. 


A record breaker! That is what they say about Col. 
Wm. N. Seng’s serial 

"JUNGLE GODDESS 


the most sensational wild-animal 
duced ! Ask these men about it : 
SAM GRAND 
Fed. Film Exch., Boston 
BOBBY NORTH 
Apollo Exch., New York City 
TOM BRANNON 
Eltabran Film Co., Atlanta 


■stunt chapter-drama ever pro- 

BOB LYNCH 

Metro Film Exch., Phila. 

SOL LESSER 

All Star Feat. Dis., Calif. 

GRAND-NORTH EXCH. 

Buffalo, New York 


For open territory wire: 

EXPORT & IMPORT FILM CO., INC. 


729 7th Ave., New York City 


Cable Address: EXIMTO/M, N. Y. 


15 Melodramatic Episodes! 


132 


MOVING PICTURE WORLD 


September 9, 1922 


Straight from the Shoulder Reports 

Department for the Information of Exhibitors 


American Releasing 

BELLE OF ALASKA. Good program pic- 
ture with Jane Novak. George Abernathy, 
Index Theatre, Index, Washington. 

Associated Exhibitors 

MARRY THE POOR GIRL. About what 
one would expect from the DeHavens. Not 
a bad light comedy. Advertising; usual. 
Patronage; better class. Attendance; fair. 
K. H Sink, Wayne Theatre, Greenville, Ohio 

F. B. O. 

FIRST WOMAN. Title misleading, al- 
though a very good picture, pleased 90 per 
cent. Star well liked here. Advertising; 
sixes, threes, one sheets, slide. Patronage ; 
usual. Attendance, fair. Stephen G. Bren- 
ner, Eagle Theatre, Baltimore, Maryland. 

GAY AND DEVILISH. Doris May very 
good, also supporting cast. Photography 
good. Story full of laughter. Advertising; 
sixes, threes, ones, slide. Patronage ; usual. 
Attendance; good. Stephen G. Brenner, 
Eagle Theatre Baltimore, Maryland. 

First National 

GOLDEN SNARE. One of the best Cur- 
woods, although not as good as River s 
End.” Patronage, small town. Attendance, 
good. G. H. Jenkinson, Victor Theatre, 
Minocqua, Wisconsin. 

HAIL THE WOMAN. A film classic in 
every particular. Attendance excellent. 
Patrons pleased. Advertising, mailing list, 
ones and threes. Patronage, health seekers 
and tourists. Attendance, as above. Dave 
Seymour, Pontiac Theatre Beautiful, Sara- 
nac Lake, New York. 

MY BOY. Patrons liked this one and it 
pleased 100 per cent. Advertising, news- 
paper, billboard, herald. Patronage, mixed. 
Attendance, fair. H. L. Bennett, Victoria 
Theatre, Parsons, West Virginia. 

MY LADY FRIENDS. Very good com- 
edy drama, light in construction, but that s 
just what you want for hot weather. Ad- 
vertising, usual posters. Patronage, general. 
Attendance, fair. Jack Kaplan, Royal The- 
atre, South Fallsburgh, New York. 

ONE CLEAR CALL. Seven reels of finest 
entertainment released for some time. Stahl 
has produced another excellent feature in 
this one, and while Milton Sills did his part 
fine, H. B. Walthall and Irene Rich must 
have credit for some of the best work they 
ever did. First National is sure giving us 
some fine ones and it will help bring back 
some absentee patrons. H. J. Longaker, 
Howard Theatre, Alexandria, Minnesota. 

PEACEFUL VALLEY. Bear down on 
this one, boys, for it’s there from the first 
sub-title till the last fade-out. It pleased 
them and played to best business in last 
six weeks. Consider it best picture Ray 
has made for First National. Advertising, 
regular. Patronage, mixed. Attendance, 
fair. Steve Farrar, Orpheum Theatre, Har- 
risburg, Illinois. 


Edited by A. Van Buren Powell 


Sincere exhibitors are sending 
these tips to help you book your 
show. Their reports are printed 
without fear or favor. If a pic- 
ture is good, bad or ordinary, you 
will find it out here. Turn about 
is fair play; let these exhibitors 
guide ycur bookings, and in turn 
let’s hear from you. 


POLLY OF THE FOLLIES. This com- 
edy is good in spots; the “Julius Caesar” 
incident is very funny and some of the titles 
are laugh getters. The producers are billing 
this one a special. My advice to exhibitors, 
not to do this, the picture is not sufficiently 
good to stand up under increased exploita- 
tion. It can be sold as average Talmadge 
comedy. Advertising, usual. Patronage, 
health seekers and tourists. Attendance, 
good. Dave Seymour, Pontiac Theatre 
Beautiful, Saranac Lake, New York. 

THE ROSARY. A picture that should 
please both Protestant and Catholic. Pro- 
ductions of this nature are healthy for the 
industry. Advertising, extra. Patronage, 
better class. Attendance, extra good. K. 
H. Sink, Wayne Theatre, Greenville, Ohio. 

R. S. V. P. Rather weak effort on Ray’s 
part, but will please Ray fans. Merely a 
good program picture. Advertising, lobby, 
newspaper. Patronage, mixed. Attendance, 
fairly good. L. O. Hoover, reported at 
Paris Theatre, Santa Fe, New Mexico, while 
Mr. Hoover of Roundup, Montana, is on a 
trip. 

TOL’ABLE DAVID. If theatre patrons 
would not like this one I would feel like 
going out of the business. It’s human. Ad- 
vertising, extra. Patronage, better class. 
Attendance, fair. K. H. Sink, Wayne The- 
atre, Greenville, Ohio. 

Fox 

CHASING THE MOON. Not as good as 
some of the other Tom Mix pictures, but 
has lots of fun and action. Our people seem 
to like Mix and come regardless of the pic- 
ture. Support is good and picture pleases 
those who like Mix. Ben L. Morris, Temple 
Theatre, Bellaire, Ohio. 

CONNECTICUT YANKEE. This is an 
excellent picture but hardly worth the price 
asked for it. Where the cost comes in, in 
making such a picture, is more than we can 
see. Advertising, posters, mail, newspapers. 
Patronage, very best. Attendance, good. 
B. A. Aughinbaugh, Community Theatre, 
Lewistown, Ohio. 

FIGHTING STREAK. A good one. Book 
it. Tom Mix will pull them in. Mix always 
liked here. Not as good as “Rough Dia- 
mond.” Advertising, threes, ones, slide, 
photos. Patronage, small town. Attendance, 
good. F. C. Butt, Ideal Theatre, Blue Ridge, 
Georgia. 


LADY FROM LONGACRE. Russell gets 
back into action in this. Points of mystery 
kept them guessing. Good cast. Advertis- 
ing, ones, cards, slide, monthly program. 
Patronage, small town. Attendance, good. 
R. K. Russell, Lyric Theatre, Cushing, 
Iowa. 


LAST TRAIL. Believe me, a good one; 
drew better than any other I’ve shown for 
a week. Advertising, ones, cards and pho- 
tos. Patronage, general. Attendance, extra 
good. R. Mason Hall, Grand Theatre, 
Northfork, West Virginia. 


MOUNTAIN WOMAN. Good program 
picture. Advertising, lobby and daily paper. 
Attendance, fair. A. R. Workman, Coliseum 
Theatre, Marseilles, Illinois. 


NIGHT HORSEMEN. Another Mix bet. 
Play it. Patronage, fair. Clarence W. 
Langacher, New Glarus Theatre, New 
Glarus, Wisconsin. 

ROUGH SHOD. The title of this should 
be, “He gave me violets.” Charley makes a 
real dashing hero and two or three times 
almost gets ungentlemanly rough. He is 
not the old “Buck” Jones any more. Pic- 
ture is average good Western. Ben L. 
Morris, Olympic Theatre, Bellaire, Ohio. 


SHAME. All reported a splendid picture; 
it will please any class of audience. Ad- 
vertising, ones, photos, three sheet. Patron- 
age, general. Attendance, good. R. Mason 
Hall, Grand Theatre, Northfork, West Vir- 
ginia. 

SKY HIGH. Have seen better Mix’s, but 
the scenery in this is well worth the price 
of admission, and if you will play up the 
wonderful scenery and dangerous feats I 
see no reason why you can’t cash in on this, 
and please your patrons 100 per cent, to 
boot. It will get the money, so go to it. 
Advertising, ones, threes, mailing list. 
Patronage, small town. Attendance, good. 
J. F. Pruett, Liberty Theatre, Roanoke, 
Alabama. 

STAGE ROMANCE. Not half as good 
as Wm. Farnum’s “Perjury.” Here he s 
all right in the first half of the picture 
but the latter part seems to fall down quite 
a little. Patronage, mixed. Attendance, 
fair. Jack Kaplan, Royal Theatre, South 
Fallsburgh, New York. 

THUNDERCLAP. The most thrilling 
picture we have shown in many a month. 
Pleased everyone. Boost it big. It is worth 
it. Advertising, posters. Patronage, rural. 
Attendance, good. B. A. Aughinbaugh. 
Community Theatre, Lewiston, Ohio. 

TRAILIN’. Poorest Mix in months. 
Crude and jumpy. Advertising, newspapers, 
heralds, ones, twos and threes, photos. 
Patronage, general. Attendance, rottem S. 
H. Blair, Majestic Theatre, Belleville, Kan- 


sas. 

VIRGIN PARADISE. Some exhibitors 
say this picture is no good, but it stood two 
davs and pleased 90 per cent. The humor is 
A-l Advertising, ones, sixes, sades ana 
heralds. Patronage, small town. .Atten- 
dance, excellent. R. K. Russell, L> ric The- 
atre, Cushing, Iowa. 

WESTERN SPEED. A good one. Book 
it and advertise as you never have done 
before; you will clean up. Wish I could 


September 9, 1922 


MOVING PICTURE WORLD 


133 


play Jones six days a week. Advertising, 
six, three, ones, photos. Patronage, 'small 
town. Attendance, good. F. C. Butt, Ideal 
Theatre, Blue Ridge, Georgia. 

Goldwyn 

DANGEROUS CURVE AHEAD. A good 
picture; a good story of married life. Ad- 
vertising, slide, photos, threes. Patronage, 
mixed. Attendance, good. D. D. Purcell, 
Muse U Theatre, Cortez, Colorado. 

DUST FLOWER. A better picture and a 
different kind of one than you would think 
from the title. They will go out telling you. 
as they did me, “fine pi-eture.” Cast well 
selected; Claude Gillingwater is very good. 
Chas H. Ryan, Garfield Theatre, Madison 
Street, Chicago, Illinois. 

GLORIOUS FOOL. Very good story; 
Miss Chadwick and Richard Dix are both 
liked very much. Pleased 100 per cent. Ad- 
vertising, lobby, billboard. Patronage, 
mixed. Attendance, fair. O. W. Harris, St. 
Denis Theatre, Sapulpa, Oklahoma. 

PRISONERS OF LOVE. Betty Comp- 
son is good in this picture ; a rather sad 
picture, but pleased 75 per cent. Advertis- 
ing, posters, slide, newspapers. Patronage, 
better class. Attendance, fair. C. A. Angle- 
mire, “Y” Theatre, Nazareth, Pennsylvania. 

THEODORA. We have shown practically 
all the big ones but this far outshines them 
all. If one has an eye for art, beauty, won- 
der things, this has them all. Most elabo- 
rate film ever made or ever shown, in the 
opinion of people here. You cannot adver- 
tise it too highly. Ned Pedigo, Pollard The- 
atre, Guthrie, Oklahoma. 

WATCH YOUR STEP. Very clever com- 
edy. Pleased well. Did not draw on account 
of weather. Advertising, lobby, newspaper, 
billboards. Patronage, mixed. Attendance 
poor. O. W. Harris, St. Denis Theatre, Sa- 
pulpa, Oklahoma. 

Wid Gunning, Inc . 

FOOLISH MONTE CARLO. The poor- 
est piece of junk in a long time. Don’t let 
them sell it to you at any price. Have 
used three of the entertainment out of ten, 
and if the other seven are like these, I’ll 
be glad when it’s all over. Advertising, 
regular. Patronage, mixed. Attendance, 
fair. Steve Farrar, Orpheum Theatre, Har- 
risburg, Illinois. 

Hodkinson 

FRENCH HEELS. Very good. Patrons 
well satisfied. Exhibitors can’t go wrong 
on playing this feature. Advertising, regu- 
lar, newspaper, billboards. Patronage, 
mixed. Attendance, good. John F. Carey, 
Liberty Theatre, Providence, Rhode Island. 

Metro 

FASCINATION. Not any better than 
“Peacock Alley.” It takes a good one to 
surpass “Peacock,” but “Fascination” will 
hold your audience from start to finish, 
and it is worthy of an increased admission. 
Played big rain storm of over seven inches 
of rain. Advertising, cut-outs, posters, 
street bally-hoo and newspapers. Patron- 
age, best. Attendance, poor. M. F. Schnib- 
ben, Opera House, Florence, South Caro- 
lina. 

FOURTEENTH LOVER. Corking good 
vehicle for Dana, and she puts a lot into 
it. A good hot weather comedy drama. 
Nothing to bend the intellect or strain the 
emotions. Should please any audience any- 
where. Advertising; posters, newspapers, 


'Between Ourselves 

A get-together place where 
we can talk things over 

September! Show You Month! 
It’s here. 

Now’s the time to get together 
all possible exploitation to sell the 
idea of going to the movies. 

Now’s the time to get together 
the crowd — in your theatre. 

That means GET GOOD 
SHOWS together so that the 
folks will be glad to come again 
and again. 

And THAT means — now’s the 
time to tell every exhibitor about 
the good pictures — here.. And 
about the bad pictures — here. 

“Show You Month” starts “Get- 
Together Year.” Exhibitors have 
always been great factors in help- 
ing other people — War Relief 
work, civic betterment, and so on. 
NOW, come on, all, and help each 
other to the finest year’s profits 
ever. You are the boys who can 
do it. VAN 


slide, lobby, etc. Patronage; mixed. At- 
tendance; good for hot day. J. J. Wood, 
Redding Theatre, Redding, California. 

GARMENTS OF TRUTH. Gareth 
Hughes is very good in this picture. 
Pleased everyone who saw it. Advertising, 
ones, threes, photos and lobby. Patronage, 
general. Attendance, good. J. S. Wads- 
worth, Republic Theatre, Great Falls, South 
Carolina. 

GOLDEN GIFT. Splendid picture with 
good story and cast, at a fair price. Pleased 
100 per cent. Advertising; regular. Patron- 
age; small town. Attendance; fair. A. L. 
Middleton, Grand Theatre, DeQueen, Ark- 
ansas. 

THE GREATER CLAIM. One of the 

best pictures ever produced, but didn’t take 
here. No chance for you to go wrong on 
this picture. Increase your admission. 
Advertising, ones, threes, photos. Patron- 
age, small town. Attendance, fair. F. C. 
Butt, Ideal Theatre, Blue Ridge, Georgia. 

I CAN’T EXPLAIN. Personally talking, 
I consider this pretty good, but at the same 
time its a weak play. It has certain novel 
twists, but lacks the human touches neces- 
sary to be a sure-fire success. Its appeal 
is to the sophisticated. Think it will please 
the average fan. It has good directing 
coupled with trig acting. We find Metro 
very good. Advertising; newspaper and 
billboards. Patronage ; general. Attend- 
ance ; good. Harold S. Clouse, Hollywood 
Theatre, Highwood, Minnesota. 

POLLY WITH A PAST. Very good com- 
edy drama. Entertainment value 90 per 
cent. No unfavorable comments. Advertis- 
ing; newspaper and lobby. Patronage; gen- 
eral. Attendance; poor. Smith & Carroll, 
Portland Theatre, Casselton, North Dakota. 

Paramount 

ACROSS THE CONTINENT. Good Reid 
feature, enjoyed by all fans. Advertising; 
newspaper, billboards. Patronage ; general. 
Attendance ; good. Stanley N. Chambers, 
Miller Theatre, Wichita, Kansas. 


AFFAIRS OF ANATOL. This has a real, 
all-star cast which will get by alone; that is 
not all it has; it has a good story and the 
acting is good. Patronage; small town. At- 
tendance; good. G. H. Jenkinson, Victor 
Theatre, Minocqua, Wisconsin. 

BEYOND THE ROCKS. Screen’s two 
greatest lovers, Valentino and Swanson. 
It gets the women. Originally made as a 
Swanson picture, with Valentino in sup- 
porting cast. Did not go over as good as 
“The Sheik” but it cost us the same price. 
Chas. H. Ryan, Garfield Theatre, Madison 
Street, Chicago, Illinois. 

THE CRIMSON CHALLENGE. Picture 
pleased pretty well, as it was a Saturday ex- 
hibit. Full of pistols, fast riding, and where 
they like westerns, I see no reason for its- 
not being well liked. Exploit Dorothy Dal- 
ton as playing a “different role.” Advertis- 
ing, usual. Patronage, health seekers and 
tourists. Attendance, good. Dave Seymour, 
Pontiac Theatre Beautiful, Saranac Lake,, 
New York. 

DON’T TELL EVERYTHING. Stars 
drew very good. Owing to warm wave and 
street exposition, picture only a program 
picture, but nevertheless it pleased and that 
is half the battle. Might have made a dollar 
for myself had the price been right. Even 
though the picture is quite old I had to pay 
good money for it, but it’s the same story 
they tell me. I’ll make it up on the next one, 
etc. Advertising, street, heralds, window, 
newspaper. Patronage, all classes. Atten- 
dance, better than usual. J. S. Kallet, 
Strand Theatre, Rome, New York. 

DON’T TELL EVERYTHING. I did not 

see this one, but did not have any complaint. 
Advertising, lobby, heralds, one sheets. 
Patronage, best. Attendance, poor. R. S. 
Moore, Gem Theatre, Snyder, Oklahoma. 

DUCKS AND DRAKES. Very light 
comedy drama, so light, in fact, I think most 
of my patrons considered it bunk. Very 
weak story and the star does not go over in 
my town. Advertising, ones, threes, sixes, 
newspaper, slide. Patronage, small town. 
Attendance, fair. L. E. Silverman, Columbia 
Theatre, Skamokawa, Washington. 

EVERYTHING FOR SALE. Have shown 
most of MacAvoy’s and this is one of the 
best. Scenery and settings very good. A 
very delightful play. Play this Realart stuff 
on Wednesdays and most always have a 
good house. None of it is for the Rufneck. 
Patronage, small town. Attendance, good. 
Wm. E. Tragsdorf, Trags Theatre, Neills- 
ville, Wisconsin. 

EYES OF THE MUMMY. The foreign 
actors are terrible. Don’t see how Para- 
mount has nerve enough to put their trade 
mark on this class of picture. Patronage, 
all classes. Attendance, poor. J. Kenrick, 
Strand Theatre, Ithaca, New York. 

FIND THE WOMAN. Good mystery pic- 
ture with a cast which includes Norman 
Kerry and Harrison Ford. Well staged and 
production up to Paramount standard. 
Chas. H. Ryan, Garfield Theatre, Chicago, 
Illinois. 

HER HUSBAND’S TRADEMARK. Ac- 
cepted as good entertainment but nothing 
to rave about. Photography, direction, etc., 
good. Advertising; usual. Patronage; 
better class. Attendance ; fair. K. H. Sink, 
Wayne Theatre, Greenville, Ohio. 

HUSH MONEY. Fair picture; a little 
better than Brady’s average. Have never 
been able to see much ot this star. Adver- 
tising; regular. Patronage; small town. 
Attendance; put on bargain night at 5 and 
10 cents, packed house. A. L. Middleton 
Grand Theatre, DeQneen, Arkansas. 


134 


MOVING PICTURE WORLD 


September 9, 1922 


WOMAN WHO WALKED ALONE. 

Good picture. Well liked. Advertising, 
newspaper. Patronage, general. Attend- 
ance, good. Stanley N. Chambers, Miller 
Theatre, Wichita, Kansas. 

WOMAN WHO WALKED ALONE. Has 

story value, star value and production value. 
Three stars, Dalton, Sills and Hawley. A 
first rate picture, well up to the standards 
of Melford’s productions. Chas. H. Ryan, 
Garfield Theatre, Madison Street, Chicago, 
Illinois. 

WORLD’S CHAMPION. Just a regular 
feature sold as a special. Second day’s 
business just half of first day. Advertising, 
mailing list, programs, extra paper. Patron- 
age, small town. Attendance, fair ; but dis- 
appointed. H. S. Stansel, Ruleville Theatre, 
Ruleville, Mississippi. 

WORLD’S CHAMPION. Where do they 
get the “special” stuff? The picture is not 
as good as the regular Reid pictures, yet 
they ask a special price. Advertising, ex- 
tra Patronage, better class. Attendance, 
fair. K. H. Sink, Wayne Theatre, Green- 
ville, Ohio. 

Selznick 

CLAY DOLLARS. Eugene O’Brien not 
liked very well here but this surely did sur- 
prise the kickers. A really, interesting story 
with the usual country town elements. 
Enough humor to hold it above average. 
Advertising, usual ones, and slide. Patron- 
age, small manufacturing town. Attendance, 
fair. M. V. Cousins, Peoples Theatre, Pine- 
land, Texas. 

PLEASURE SEEKERS. A very good 
picture. Elaine Hammerstein does not draw 
for us in this town but personally I like her 
pictures. Advertising, newspapers, bill- 
boards. Patronage, better class. Attend- 
ance, poor. King .Solomon, Bijou Theatre, 
Clarksburg, West Virginia. 

REPORTED MISSING. Certainly this 
is the best thing Owen Moore ever did. 
The comedy by the big fellow was simply a 
scream. We know of no better picture than 
this one. Best of all, we bought it right and 
made money. Ned Pedigo, Pollard Theatre, 
Guthrie, Oklahoma. 

REPORTED MISSING. The sort of pic- 
ture that makes you forget there is such a 
thing as time A shrapnel shell of high ex- 
plosive comedy, loaded with laughs and 


A Demon for Work 

C. Wesley Jennings is with the 
highly reputed Southern Amuse- 
ment Company, Victoria, Virginia. 
He’s with this department, heart 
and soul. How does he show it? 
BY SAYING “YOU MAY SEND 
ME ABOUT FIFTY REPORT 
CARDS.” Next!— 


vertising, sixes, threes, ones, photos, her- 
alds, window cards. Patronage, small town. 
Attendance, good. G. D. Hughes, Liberty 
Theatre, Heavener, Oklahoma. 

United Artists 

THE IRON TRAIL. Better look this one 
over before you show it to your patrons; 
it failed to please here and after looking at 
it I was bound to say it’s tiresome and the 
poorest Rex Beach picture I ever saw. Jt’s 
no special; if you buy it cheap, run it. Ad- 
vertising, special. Patronage, mixed. At- 
tendance, very poor second day. Steve Far- 
rar, Orpheum Theatre, Harrisburg, Illinois. 

LITTLE LORD FAUNTLEROY. It takes 
us all a long time to find out if certain stars 
get us any money or not, and I am now con- 
vinced that Mary is all caught up, and if I 
gave away goldfish with each ticket I could 
not do business with Pickford. Not an audi- 
ence picture. Advertising, billboards, news- 
paper, window. Patronage, a few of better 
class. Attendance, poor. J. S. Kallet, Strand 
Theatre, Rome, New York. 

RULING PASSION. George Arliss a real 
actor. Story good. Our patrons enjoyed it 
and told us so. Doris Kenyon female lead. 
On seven reels. Chas. H. Ryan, Garfield 
Theatre, Madison Street, Chicago, Illinois. 

THREE MUSKETEERS. High class and 
amusing farce, extremely well done. Doug 
deserves credit. But it’s held down by be- 
ing ancient stuff. Public demands 1922 sub- 
jects. Only the highbrows came. Adver- 
tising, fifty ones, ten threes, two sixes, 1,500 
heralds, two newspapers. Attendance, ex- 
tremely poor. S. H. Blair, Majestic Theatre, 
Bellville, Kansas. 

WAY DOWN EAST. A splendid audi- 
ence picture, very well done. Has wide ap- 
peal. Advertising, sixes, threes, ones, 1,500 
heralds, two newspapers. Attendance, poor ; 
too hot. S. H. Blair, Majestic Theatre, Bell- 
ville, Kansas. 


Universal 

CONFLICT. A very fine picture that sure 
aught to please every where. Advertising; 
small town. Patronage; good. Clarence W. 
Langacher, New' Glarus Theatre, New 
Glarus, Wisconsin. 

DANGEROUS LITTLE DEMON. Very 
pretty picture that will please everyone. 
Everybody seemed to enjoy this picture and 
asked for more of Marie Prevost subjects. 
Universal improving right along on their 
subjects and I do hope they will not improve 
on the rentals. Advertising; ones, mailing 
list. Patronage; small town. Attendance; 
good. J. F. Pruett, Liberty Theatre, 
Roanoke, Alabama. 

DR. JIM. Say boy, this was a great 
picture, but why does a star have to get in 
the limelight at the height of his career when 
we are pulling so hard for clean pictures. 
J. R. Rush, Pastime Theatre, Pearl City, 
Illinois. 

FALSE KISSES. Take my advice and 
lay off. Absolutely rotten. I have never 
seen her in a good picture. Probably she 
W'ould make good if Universal would give 
her a good story. Advertising; ones, slide, 
photos. Patronage ; small tow'n. Attend- 
ance ; fair. F. C. Butt, Ideal Theatre, Blue 
Ridge, Georgia. 

NO WOMAN KNOWS. A very fair pic- 
ture, but did not go over in this town. I 
can’t see where they get this special 
stuff on a picture of this kind. I lost plenty 
of money on it, but it w r as not all the fault 
of the picture. Farmers were all making 
hay and had no time for the movies. Ad- 
vertising; usual. Patronage; small town. 
Attendance ; very rotten. L. E. Silverman, 
Columbia Theatre, Skamokawa, Washington. 

OUT OF THE SILENT NORTH. Good 
story of the north that pleased 90%. Pat- 
ronage ; small town. Attendance ; fair. G. 
H. Jenkinson, Victor Theatre, Minocqua, 
Wisconsin. 

OUT OF THE SILENT NORTH. A good 
picture with beautiful snow scenes. It will 
please any audience and can be bought at 
the right price. Advertising; billboard and 
newspaper. Patronage; high class. At- 
tendance ; good. John A. Schwalm, Rialto 
Theatre, Hamilton, Ohio. 

THE ROWDY. Fine show'. J. R. Rush, 
Pastime Theatre, Pearl City, Illinois. 

SECOND HAND ROSE, Gladys Walton, 
the star, was liked by all. Advertising; 
lobby, newspaper, handbills and slide. Pat- 
ronage; high class. Attendance; fine. 
Thomas Clark, Electric Theatre, Maryville, 
Missouri. 

THE SCRAPPER. Some action and a 
good picture bf this kind. Attendance; 
good. H. R. Workman, Coliseum Theatre, 
Marseilles, Illinois. 

THE SCRAPPER. Better than lots of 
super-specials I have run and pleased 100%. 
Made money because the price was right. 
You will always get a clean deal and good 
service from Universal. Advertising; usual. 
Patronage; small town. Attendance; good. 
J. F. Pruett, Liberty Theatre, Roanoke, 
Alabama. 

TRACKED TO EARTH. A very good 
w'estern program picture. The photography 
excellent and our patrons were all satisfied. 
Advertising; three sheets. Patronage; 
rural. Attendance; good. D. B. Rankin, 
Cooperative Theatre, Idana, Kansas. 

THE TRAP. Lon Chaney’s acting and 
scenery and photography good, but type of 
story is gruesome and is not one w'hich vour 
patrons will thank you for having shown 
them. Patronage ; small town. Attendance; 
fair. Trags Theatre, Neillsville, Wisconsin, 
thrills. Seven reels of chain lightning. Ad- 


A Straight from the Shoulder Report 

Exhibitors are booking by theae reporta. Tell them about pictures that make money 
for you and warn them against the really bad staff. Be fair to the picture and to year 
fellow exhibitors. LET’S HEAR FROM YOU. 

Title of Picture Producer 

Your Own Report 


How Advertised 

Type of Patronage Attendance ... 

Good, Fair, fear 

Theatre City State 

Date Signed 


September 9 , 1922 


MOVING PICTURE WORLD 


135 


Comedies 

MACK SENNETT COMEDIES (Par- 
amount). “His Last False Step,” “Speak 
Easy.” Our first Mack Sennetts and the last 
if they are all like these. Nothing to them, 
but two reels of rough house. Patronage; 
rural. L. P. Frisbee, Community Theatre, 
Meredith, New York. 

MY WIFE’S RELATIONS (First Na- 
tional). Buster Keaton has scored again. 
This is as good as he ever did. He always 
pleases here. It seems he always has a new 
angle to the plots and stunts in his comedies. 
People thoroughly enjoyed it. H. J. Long- 
aker, Howard Theatre, Alexandria, Minne- 
sota. 

NEVER WEAKEN (A. P.). Fair com- 
edy, not by any means Lloyds best. Got the 
laugh and people satisfied. Advertising; 
paper. Louis Pilosi, Pilosi’s Theatre, Old 
Forge, Pennsylvania. 

THE PLAYHOUSE (First Nat’l). This 
Keaton comedy is pretty good, especially the 
second reel. The trick photography in the 
first reel is no longer a novelty. As a whole, 
though, the comedy will please. Patronage; 
small town. Attendance ; good. A. La Valla, 
Community Theatre, Bethel, Connecticut. 

SHOULD WATCHMEN SLEEP (Univer- 
sal). This one starts off with a laugh, ends 
with a laugh, and has many laughs in be- 
tween. Will please most audiences. Adver- 
tising; paper, newspapers. Harold Wendt, 
Rivoli Theatre, Defiance, Ohio. 

Short Subjects 

LEATHER PUSHERS (Universal). Best 
short reel subjects I have ever run. You 
make no mistake in booking this series. At- 
tendance ; good. Rialto Theatre, Jerome, 
Idaho. 


Reports Not Used? 

If you don’t see your reports as 
soon after you send them as you 
think you should, please remember 
these pages try to give an even 
break to all pictures, sections of 
the country, producers and ex- 
hibitors. Sometimes they are 
ready for press before your tips 
arrive; sometimes reports older 
in time of arrival must be used up. 
Anyhow, every honest comment 
coming in IS USED. 


THE MILKY WAY (Ford Ed. Wkly). 

Almost as good as Chas. Ray. Clean and 
wholesome. Advertising; newspaper and 
posters. Patronage; family. Attendance; 
good. Arthur G. Pearson, Melrose Auditor- 
ium, Melrose, Massachusetts. 

MOVIE CHATS (Urban). Every exhib- 
itor will create a regular patronage on the 
night “movie chats” are used. They’re ex- 
cellent. Patronage; general. Attendance; 
increasing when “movie chats” are used. H. 
J. Longaker, Howard Theatre, Alexandria, 
Minnesota. 

State Rights 

HERO STUFF (Standard). Picture in 
fair shape, end of third reel somewhat cut. 
As a whole the picture is good. Pleased all, 
something different. They went out talking 
about it. Lots of good clean comedy in it. 
Run it. Patronage; middle class. Wm. 
Thacher, Royal Theatre, Salina, Kansas. 

JUDGMENT (Rialto). Well acted Ger- 
man production, depiciting decadent England 
of the fourteenth century. Not popular and 


lost us money. Advertising; more than 
usual. Patronage; best. Attendance; poor. 
J. A. Flournoy, Criterion Theatre, Macon, 
Georgia. 

THE PARISH PRIEST (Garfield). A 

wonderful production. Will go over in any 
community theatre. Advertising; regular 
newspaper. Patronage ; family. Attend- 
ance ; good. John F. Carey, Liberty The- 
atre, Providence, Rhode Island. 

SCHOOL DAYS (Warner Bros.). A sure 

money getter. Excellent matinee, standing 
room only, something unusual in this town 
in summer. Advertising; regular newspaper. 
Patronage ; mixed. Attendance ; excellent. 
J. F. Carey, Liberty Theatre, Providence, 
Rhode Island. 

SO THIS IS ARIZONA (W. M. Smith). 
A good western that ought to please any- 
where. Advertising; poster and press. 
Patronage; small town. Attendance; fair. 
Chas. W. Lewis, I. O. O. F. Hall Theatre, 
Grand Gorge, New York. 

TAKING CHANCES (Enterprise). Good. 
Richard Talmadge has some good stunts. 
This picture will please. Business only fair. 
Star not known. Patronage ; middle class. 
Attendance; fair. Wm. Thacher, Royal 
Theatre, Salina, Kansas. 

TEN NIGHTS IN A BARROOM (Arrow). 

I starved to death with this one at ten cents 
admission, but I ran it after opposition house 
who turned them away. Picture very good. 
Advertising; sixes, threes, ones, lobby dis- 
play, window cards. Patronage ; usual. At- 
tendance ; poor. Stephen G. Brenner, Eagle 
Theatre, Baltimore, Maryland. 

THINGS MEN DO (Schlesinger Film). 

This was one of the worst pictures we ever 
played. Don’t book it at any price. It dis- 
appointed everyone. Advertising; billboards 
and newspapers. Patronage ; high class. At- 
tendance; fair. J. S. Schwalm, Rialto The- 
atre, Hamilton, Ohio. 


MlBMIUllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllW Ilium 

Consensus of Published Reviews 


Here are extracts from news available at press hour from publications of the industry boiled down to a sentence. They 
present the views of Moving Picture World (M.P.W.); Exhibitors’ Herald (E.H.); Motion Picture News (N.): Exhibitors’ 

Trade Review (T.R.); Film Daily (F.D.) 

iniiimiMimiltlinill|]llli|]l]!ll!!llllllllll!lllllllllll!llll!ll!l]lllll!tll!llll!ll]l!lllll!l!lllll!lllllllllllllllillim 


Blood and Sand 

( Rudolph Valentino — Paramount — 7,235 
feet) 

M. P. W. — The picture has box office ad- 
vantages that need no recounting, and at 
the same time is an artistic and entertaining 
achievement. 

N. — Valentino, Ibanez, title and production 
value can not conceivably but carry the pic- 
ture to an enormous success throughout the 
country. 

T. R. — A sure-fire box office asset. 

F. D. — Fine entertainment and undoubtedly 
a big box office find. 

E. H. — It is the type and character of a 
picture that practically takes the gamble out 
of the business. It offers as much assurance 
of being a great success, everywhere that it 
is shown, as any picture ever published. It 
places Fred Niblo in the very foreground of 
the best directors of the screen. 


Her Gilded Cage 

(Gloria Swanson — Paramount — 6,249 feet) 

M. P. W. — High entertainment value. 

E. H. — Will please a lot of people. 

T. D. — Too much money expended for elab- 
orate production of poor story. 

N. — Subtract the gorgeous sets and cos- 
tumes from this picture and it wouldn’t carry 
a single item of interest. 

T. R. — Passable entertainment. 


What’s Wrong With the 
Women? 

(All-star Cast — Equity — 6 reels) 

M. P. W. — State Right offering that will 
make box offices jingle with record-breaking 
grosses. 

T. R. — Ought to find a welcome on any 
screen in the land. 

N. — The picture looks to us like a knock- 
out. 

E. H. — Sufficient number of people are in- 
terested in the question asked by the title 
of this picture to make it an attraction, even 
if Daniel Carson Goodman, had produced it 
with less merit and with a cast less favor- 
ably known. 

F. D. — An up-to-date story with situations 
that will appeal to many. 

Forget-Me-Not 

(Feature Cast — Metro — 6 reels) 

M. P. W. — This Metro presentation, deeply 
tinged with pathos, takes rank as one of the 
foremost productions of its kind. 

N. — An exceptionally human interest story. 
Nothing has been forgotten in emphasizing 
the heart touch. 

F. D. — Sure fire appeal for those who like 
human interest stories. 

T. R. — Will surely win equal favor with old 
and young It is intensely human. 

E. H.- — Here is one of the best entertain- 
ment features offered to exhibitors in a long 
time. 


The Bonded Woman 

(Betty Compson — Paramount — 7,178 feet.) 

M. P. W. — Marine melodrama that has all 
the elements of a popular success. 

F. D. — Betty Compson has interesting sea 
story in latest production. 

T. R. — This production should please in a 
locality where romance and sentimentality 
hold sway. 

E. H.— This is a strong, virile story of 
the sea containing sufficient love interest and 
suspense, human appeal and thrills to make it 
a pleasing attraction, and cause spectators 
to overlook the illogical sequences. 

N. — Will be liked for its romance and sea 
stuff. 

Fools First 

(Featured Cast — First National — 5,773 feet) 

M. P. W. — A thrill in every foot of film 
holds the audience spellbound. 

E. H. — This is a straight crook melodrama, 
rather gruesome in places, but with a wealth 
of incident that holds the attention all the 
way through. 

F. D. — The best entertainment of the kind 
so far this year. 

T. R. — A picture that is likely to please all 
admirers of crook melodrama. 

N. — Marshall Neilan has scored again. He 
has given to screen literature another 
masterplay. “Fools First” is a page from life 
itself. 


136 MOVING PICTURE WORLD September 9, 1922 

Newest Reviews and Comments 

FRIT7. TIPPEN, tSd^or of %evie^s 


“East Is West” 

Stage Success Makes Picture Having Enor- 
mous Entertainment Value — First 
National Release. 

Reviewed by Fritz Tidden 

‘‘East Is West,” as a play, was a prodig- 
ious success. “East Is West” in film form 
should equal if not exceed the stage version 
in popularity. The picture has everything 
the play had, and a little bit more. It is 
200 horse-power audience appeal, for any 
type of theatre, anywhere, the bigger the 
better. 

It is not at all surprising that “East Is 
West” is the unusually fine screen enter- 
tainment it is. Nor has such audience ap- 
peal. The original furnished material that, 
on the face of it, could be translated into 
a sure-fire film success, providing it re- 
ceived intelligent, showmanlike treatment. 
This the producers of the picture have most 
certainly done, and a little bit more. The 
result is an artistic achievement that has 
every possible element for unusually wide 
popularity. 

Beginning with Frances Marion’s scen- 
ario, down through each step in the produc- 
tion, embracing Sidney Franklin’s direction, 
capable editing and titling, extraordinarily 
fine performances by the star and support- 
ing cast, and artistic photography by An- 
tonio Gaudie, there has been brought to 
bear a technical ability and keen perception 
of showmanship that makes “East Is West” 
easily one of the outstanding pictures of a 
year marked by many big box office suc- 
cesses. 

Constance Talmadge is delightful as Ming 
Toy, realizing every possibility, latent or 
obvious, that the unusually rich role con- 
tains. For sheer sparkle she exceeds any- 
thing she has done before in comedy dra- 
matic work, and a large percentage of the 
picture’s wide appeal is derived from her 
winsome personality and the manner in 
which she draws the character of the in- 
dominable little Chinese girl who finally 
turns out to be an American. One of the 
finest character performances ever re- 
flected on a screen is contributed by War- 
ner Oland in the extremely difficult role of 
Charlie Yong, the “50-50 American-China- 
man.” He is superb. His work leaves ab- 
solutely nothing to be desired. The other 
members of the cast are all excellent, but 
E. A. Burns deserves special mention for a 
sincere, natural performance that is grati- 
fyingly unactorish. 

It could be possible to go on and on pick- 
ing out the high spots of the production 
and comment on them at the great length 
they deserve, or to reiterate over and over 
again the tremendous audience appeal in 
the picture as a whole. But it can be 
summed up in one phrase that possibly 
will suffice. 

“East Is West” is a clean-up. 

THE CAST 

3Iing Toy Constance Talmadge 

Billy Benson Edward Burns 

1,0 Sang Kee E. A. Warren 

Charley Yong Warner Oland 

Hop Toy Frank Banning 

Chang Bee Nick de Ruiz 

Jimmy Potter Nigel Barrie 

Mr. Benson Winter Hall 

Mrs. Benson Billian Bawrence 

Proprietor of Bove Boat Jim Wang 


In This Issue 

“East Is West” (First Na- 
tional). 

“Up and at ’Em” (F. B. O.). 

“Three Must-Get-Theres” (Al- 
lied). 

“That Son of a Sheik” (Edu- 
cational). 

“Through the Storm” (Play- 
goers). 

“The Light in the Dark” (First 
National). 

“For Your Daughter’s Sake” 
(J. W. Production). 

“The Curse of Drink” (Weber 
and North). 

“Dusk to Dawn” (Associated 
Exhibitors). 

“The Valley of Silent Men” 
(Paramount). 

“The Unconquered Woman” 
(Lee and Bradford). 

“Top o’ the Morning” (Uni- 
versal). 


Adapted from the play of the same name 
by Samuel Shipman and John B. Hymes. 

Scenario by Prances Marion. 

Directed by Sidney Pranklin. 

Photographed by Antonio Gaudio. 

Bength, 7,737 Feet. 

THE STORY 

Ming Toy, oldest of the family of Hop 
Toy’s numerous children, shows a prefer- 
ence for the white man’s God. When the 
story opens she is seen in a Chinese shoe 
shop, where the owner finds it impossible 
to fit her feet. Ming Toy, in a fit of resent- 
ment against Chinese custom, hurls the 
celestial shoes right and left and runs into 
the street, where she meets Billy Benson, an 
American. Returning to her home she tries 
to shield the children from punishment for 
a prank they have performed and Hop Toy, 
in a rage, tells her she shall be sold at 
auction on the Love Boat. Ming Toy runs to 
the Christian Mission to save herself, but is 
taken away by her father. While she is on 
the auction block on the Love Boat Benson 
saves the girl and sends her to America 
with Lo Sang Kee. 

In San Francisco’s Chinatown Ming Toy, 
kneeling before a Chinese joss, prays to 
the white man’s God to send Billy Benson 
to save her from being married to Charley 
Yong, a “fifty-fifty” Chinaman, so-called be- 
cause he dresses as a white man and at 
heart is a celestial. Charley Yong calls for 
his bride. Ming Toy repulses him. He 
threatens to kill her kindly protector. Lo 
Sang Kee, unless she weds him and, as an 
act of self-sacrifice she consents. 

Then Billy Benson appears, Ming Toy tells 
him her tragic story, and he outwits Charley 
Yong by spiriting Ming Toy out of China- 
town to the home of his parents. There he 
declares his love to Ming Toy. The Chinese 
girl is enraptured but realizes that "East 
is East and West is West” and decides to 
return to Chinatown. Then Charley Yong 
and a band of Chinese gangsters visit the 


“Up and at ’Em” 

Novel Comedy Effects the Outstanding 
Feature of F. B. O. Picture Starring 
Doris May 

Reviewed by Mary Kelly 

Out-of-the-ordinary comedy effects mark 
this Doris May feature as one that is 
especially good where the star is popular. 
It is a consistent frame for her talents, and 
has some extreme touches quite in keeping 
with the untrammeled spirits of the popular 
young comedienne. It has plenty of snap 
and individuality and should score high. 

The scenes in the art shop are the rare 
achievement of the piece. Here are some 
exceptionally clever farcical effects in con- 
nection with bringing the pictures to life 
and reducing animated figures to pictures. 
The idea, the directing and the performance 
successfully create a series of surprises that 
will meet with hilarious receptions from the 
public. 

Doris May has a nonsensical part to 
which she responds with her usual vivacity. 
In close attendance to her, as the he-flapper, 
is Hallam Cooley, splendidly cast and giv- 
ing an amusing performance. Her fat and 
fond papa is played by Otis Harlan with 
charming naivete. Good judgment has been 
shown in selecting the entire cast. 

THE CAST 

Barbara Jackson Doris Mar 

Bob Everett Hallam Cooley 

Carlos Casinelli J. Herbert Frank 

William Jackson Otis Harlan 

Jane Jackson Clarissa Selwynne 

A Crook John Gough 

Another H. Carter 

Story by "William A. Seiter and 
Bewis Milestone. 

Scenario by Eve Unsell. 

Direction by William A. Seiter. 

Bength, 4,580 Feet. 

THE STORY 

Barbara Jackson wearing the chauffeur’s 
uniform is driving her father’s car. She 
picks up a passenger who believes he is 

getting into a public conveyance, and learns 

that he is bent upon robbing Bob Everett, 
collector of famous paintings and rival of 
her father. The robbers mistake her for a 
detective and force her to assist them in the 
theft. She alone is discovered by Everett 
after the robbery, but succeeds in winning 
him over for th« time being. Meantime, her 
father buys the stolen picture from the 
robber and Everett and Barbara arrive in 
time to warn him that the agent is a thief. 
The agent leaves as they enter the father’s 
house and find Everett’s picture, but father 
has been too clever for the thief and has 
k him trapped at the front gate. Barbara 
and Everett decide to fight their battles 
together from then on. 


house to kidnap her. Charley Yong is on 
the point of shooting Benson when Ming 
Toy, to save Benson, fells the Chinaman she 
will go with him. At this point Lo Sang 
Kee appears with Hop Toy, who confesses 
that Ming Toy is an American child who 
had been stolen from her parents. American 
missionaries in China, when she was an in- 
fant. Charley Yong thereupon decides that 
he doesn't want a white wife and Billie 
Benson takes Ming Toy into his arms. 

Exploitation Angles: With Miss Tal- 

madge in one of the best plays ever given 
her, cleaning up should be merely a matter 
of making known your offering. Use every 
possible angle, with newspaper work, win- 
dow street stunts and lobby displays, with 
the Chinese atmosphere. Play it all over 
the place, and don’t stop until you feel that 
the last woman and child knows all about it. 



September 9, 1922 


MOVING PICTURE WORLD 


137 


“Three Must-Get-Theres” 


Good Amusement in Max Linder Burlesque 
— Presented by Allied Producers and 
Distributors. 

Reviewed by Fritz Tidden 

There are entirely too few satires and 
burlesques of big, popular pictures. For 
obvious reasons they present box office ad- 
vantages of considerable value and if well 
done provide entertainment that is appre- 
ciated anywhere and of a sort that might 
be said to be the highest achievement in 
film farce fare. 

The latest in this sparsely populated 
class is Max Linder’s burlesque of the 
Doug Fairbanks’ production “The Three 
Musketeers,” under the slightly revamped 
title. The quality of burlesque comes under 
the head of broad, and the amusement it 
furnishes will undoubtedly promote any- 
where the large volume of spontaneous 
laughter it did at each performance during 
its week’s showing at the Strand Theatre, 
New York. The delicacy of the subtle 
satire the original might inspire may be 
lacking in the broad strokes with which 
this burlesque is painted but the picture 
nevertheless carries out its original intent 
in providing fun of a hearty, wholesome sort 
that will be appreciated with gusto. It is 
a real laugh-provoker. 

Max Linder does some neat work in his 
imitation of Fairbanks. In drawing the 
caricature the French comedian exceeds 
anything he has ever done in his unusually 
long career on the screen. His buffoonery 
has an idea behind it, which makes it doubly 
funny. Comedy js much funnier when 
brains are used as well as acrobatic ability, 
which a few of the minor comedians fail 
to recognize. The star is assisted by a 
competent company that individually bur- 
lesque the famous personalities in Dumas 
well known story in genuine comedy style. 

Linder adapted the “plot” of the piece 
and supplied in the boiled down version of 
Dumas tale a more connected story than is 
usual in farce pictures. This he directed 
himself and beside exerting his talents in 
arranging the comedy situations nas 
mounted the production with quite a show 
of magnificence. Thomas N. Mirand has 
injected his quota of the laughs in some 
cleverly written titles. 

It shoffid be .said that “The Three Must- 
uet-lheres will be a success even in the- 
atres that have not as yet played “The 
Three Musketeers.” 

THE CAST 

Duke of Rich-Lou Bull Montana 

King Louis XIII Krank Coofee 

The Queen Catherine Rankin 

Connie Jobyna Ralston 

alrus Jack Richardson 

Octopus ’Charles Metzetti 

Porpoise Clarence Wcrpi 

Bernajoux Fred Cavens 

Bunkumin Harry Mane 

Dart-in-Again Max Cinder 

Scenario and Direction by Max Cinder. 

Cength, 3.800 Feet. 

THE STORy 


Dart-in-Again, son of a Gascon peasant, 
goes to Paris to win his fortune. His father 
presents him with the family sword, and 
tells him there are three things he must 
tight for — “breakfast, dinner and supper.” 

On the way he meets the “Man of Meung” 
and fights a duel, but loses. He rides on 
the capital astride his donkey, Jazbo. Ar- 
rived in Paris he meets the chief of “The 
Three Must-Get-Theres” — Walrus, Octopus 
and Porpoise. Within thirty minutes Dart- 
in Again has half a dozen duel engagements 
"behind the cemetery.” There is one eacn 
with Walrus, Octopus and Porpoise. As 
they are about to fight guards of the Duke 
of Rich-Lou surprise them. Dart-in-Again 
joins forces with “The Three Must-Get- 
Theres” and they come out victorious over 
the Duke’s guards. 

Dart-in-Again then meets Connie, seam- 
stress to Queen Nannie, who tells him the 
Queen’s honor is in peril, and that he must 

go to England and get from Bunkumin, the 


Color photography will have a 
new significance to you after see- 
ing “The Light in the Dark.” In 
this, First National has taken a 
peculiarly favorable theme to 
demonstrate the new process and 
the result is novelty, beauty and a 
fine strength. The colors are ex- 
quisitely defined and add greatly 
to the appeal. — M. K. 


“That Son of a Sheik” 


Christie Comedy Co. Inaugurates New Sea- 
son With Clever Burlesque Farce 1 — 
Educational Release. 

Reviewed by Fritz Tidden 

The Christie Film Company, justifiably 
noted producers of comedies, starts off its 
1922-23 season with a bang. The initial 
releases are sure-fire laugh manufacturers. 
They are “wows,” and the comedy is clever- 
ly derived, and zippy. Needless to mention 
they hold high promise for what is to fol- 
low. 

The first two of a series of twenty two- 
reel Christie productions to be distributed 
through Educational during the amusement 
year just commenced were shown for re- 
view and displayed a standard in laugh 
promotion that if adhered to will result in 
a succession of comedy productions that 
exhibitors will find extremely valuable in 
augmenting programs. Those viewed were 
“That Son of a Sheik” and “Pardon My 
Glove,” the former, which is concerned in 
this comment, featuring Neal Burns and 
Viora Daniel. 

“That Son of a Sheik” is a clever satire, 
burlesquing that currently large class of 
feature productions known as “sheik pic- 
tures,” and pokes fun at the female element 
that flock to them in well known droves. 
It starts off with these two ideas and sticks 
to them to the finish, and consistently fur- 
nishes screen material that will tickle the 
risibilities of any class of patronage. 

Also there is story value in the plot that 
embraces the love affair of the young lady 
who is a constant attendant at sheik pic- 
tures and her fiancee who won’t make love 
to her with the ardor she witnesses in the 
Arabian stuff. He isn’t very sheik. But he 
is clever enough to stage a sham sheik 
episode that teaches her the hot stuff over 
the burning sands is better on the screen 
than in real life. She’s cured, marries him 
and settles down to love in a cottage instead 
of the tent she thought she desired. The 
director has staged a succession of comedy 
situations so that their many possibilities 
are realized to the full. And the title writer 
has supplied reading matter that furnishes 
a great many of the laughs. The cast 
works hard and successfully. 


Queen’s lover, a brooch the King- had given 
to her and which she in turn had given as a 
love token to Bunkumin. Dart-in-Again 
calls Walrus,' Octopus and Porpoise and to- 
gether they outwit the Duke of Rich-Lou’s 
pursuing guards who are aroused by field 
telephones and who pursue on motorcycles. 

Dart-in-Again sees Bunkumin, gets the 
Queen’s brooch and returns just in time to 
present it to Queen Nannie at a royal party 
the King is giving in the castle. On the 
return trip his steed is “doped” and Dart- 
in-Again just barely arrives in time. He is 
rescued by Connie from attacking- guards 
of the Duke of Rich-Lou; joins in the frantic 
search for the brooch which he pretends + o 
find and Queen Nannie is saved. As a re- 
ward by the King he is made a full member 
of “The Three Must-Get-Theres”; is wed to 
Connie, and receives permission to give a 
present to the Duke of Rich-Lou. 


“Through the Storm” 


Familiar Theme Receives Good Treatment 

in Edith Stockton Vehicle — Playgoers 

Picture. 

Reviewed by Fritz Tidden 

It could have been possible to make the 
title of “Through the Storm” read in the 
plural number. The heroine passes through 
a couple of storms — -thunder and emotional 
- — and the latter is as severe as the meteor- 
ological. Convincing pictorial expression 
of an emotional storm experienced by a 
character necessarily calls for an amount 
of fine acting. In relation to this it can 
heartily be said that Edith Stockton, the 
star of the picture and the storm traveller 
comes through with flying colors, even if 
a little damp. Miss Stockton pulls the on- 
looker with her through her stress, so con- 
vincing is she. And she never resorts to 
broad methods. 

The theme of “Through the Storm” is as 
familiar as moving pictures, but the digni- 
fied and entirely interesting treatment it 
receives in a fine production retains the 
spectator’s attention. Also it is a theme 
that film devotees seem never to tire of. 
True it is that the long arm of coincidence 
is inched out a little, but it is done with 
justifiable dramatic license and could hardly 
be omitted in the exposition of this particu- 
lar plot. Frequent new situations and in- 
cidents have been developed by the scenar- 
ist and director which at times gives the 
story a fresher appearance. 

The director has exerted good taste in 
the arrangement of his interior sets, giving 
the picture a tone of gratifying, unobstru- 
sive lavishness, and has included in his ex- 
teriors some scenes of remarkable beauty. 
The action that takes place within both of 
these is set at the right tempo for good 
dramatic development. Miss Stockton is 
supported by a cast that includes two sub- 
ordinate players that are outstanding. One 
js the rich aunt. The othr is Mary 
Worth in a part that could well have sunk 
into oblivion but for Miss Worth’s ability 
as an actress. Some day someone, in this 
oft stated wild scramble and frenzy for 
new talent, will give Miss Worth a role of 
the prominence her decided talents and 
personality deserve. Her work in the many 
bits she has played seems to call for it. 
Her work on the stage certainly does. 

THE CAST 

Helen Stone Edith Stockton 

Dr. Bruce Louis Kimball 

Lillian. Atterbury ....Mary Worth 

Jeremiah Blackstone Leanord Mu die 

Sally Gladys Stockton 

Samuel Drake James Cooley 

Jack Henderson Regan Stewart 

Story, Scenario and Direction Not Credited. 

Length, 5,905 Feet. 

THE STORY 

When lightning strikes a building where 
two girls, strangers to each other, have 
sought shelter and kills one of the girls, 
identities become mixed. Helen Stone is 
taken for an orphan who was on her way 
to make her home with a rich aunt whom 
she had never seen. Helen, bitterly humil- 
iated by her father’s disgrace and the knowl- 
edge that she has failed at making her own 
living, accepts the new personality. 

She is affectionately received by the sup- 
posed aunt, and a young surgeon falls in 
love with her, but she is recognized as the 
forger’s daughter by an architect, who uses 
his knowledge to blackmail her and force 
her to marry him. He is responsible for a 
shock that paralyzes the aunt. Helen is 
overcome by the knowledge that her dis- 
honesty has led to such a misfortune, and 
is further tortured by the realization that 
the man she loves admires truth above all 
other virtues. Finally she confesses and 
wins forgiveness and love 

Exploitation Angles: Play up Miss Stock- 

ton’s fine emotional work and then sell on 
the main situation of the impersonation, 
asking^ what the reader would do in a sim- 
ilar circumstance, selling on the interest 
thus aroused. 


138 


MOVING PICTURE WORLD 


September 9, 1922 


“The Light in the Dark” 

First National Picture of Wide Appeal 
Introduces Beautiful New Color 
Photography — Stars Hope 
Hampton 

Reviewed by Mary Kelly 

In introducing the new process of color 
photography, Associated First National has 
made doubly secure an offering that from 
the standpoint of material and treatment 
promises to give wide satisfaction. “The 
Light in the Dark” strikes an appeal that 
goes deeper than the average. It has a 
penetrating theme and symbolic beauty 
that has been emphasized just enough to 
keep the picture within easy understanding 
of all, at the same time lending that some- 
thing to the scenes that warrants calling it 
entertainment plus. For many reasons it 
should bring big returns to the box-office. 

The success of the new color photography 
is striking. It has resulted in a perfection 
of outline that offsets the most frequent 
criticism attached to some other processes. It 
has been used only in scenes where it will 
be most effective and only in rich, soft 
shades chosen with the best of taste. 

More pleasing because they are intro- 
duced at the psychological moment, the 
colors avoid any effect of being cheaply 
spectacular and seem to have an actual pur- 
pose in visualizing the story. They are first 
used in connection with the history of the 
Holy Grail. Here they are a beautiful aid 
in transporting the spectator back to the 
ancient and picturesque period of knight- 
hood. Later, when Tennyson’s story of 
Lancelot and Elaine is touched upon, the 
colors are again employed and to fine ad- 
vantage. 

Hope Hampton, who is the star in an 
excellent cast, has never been so favorably 
seen. She is charmingly equal to the de- 
mand for versatility and as Tennyson’s 
famous heroine she makes a beautiful and 
lasting impression. Lon Chaney has the 
type of role in which he has proven excep- 
tionally skillful. His is a real sympathetic 
contribution. 

The picture has been well directed and 
realizes the art of trifling with sensation- 
alism without being in any sense, cheap, and 
has already given substantial indication 
that it will meet with success. 

THE CAST 

Bessie MacGregor Hope Hampton 

Tony Pantelli Lon Chaney 

J. W a rbnrton Ashe E. K. Lincoln 

Mrs. Orrin Teresa Conover 

Mrs. Flaherty.. Dorothy Walters 

Jerusalem Mike Dore Davidson 

Detective Charles Mnssett 

Socrates Stickles ..Mr. McClune 

Story by William Dudley Pelley. 

Scenario by William Dndley Pelley and 
Clarence I. Brown. 

Direction by Clarence I. Brown. 
Length, 7,500 Feet. 

THE STORY 

Bessie MacGregor, coat girl in a popular 
cafe, is struck down by Mrs. Orrin’s lim- 
ousine one night. Mrs. Orrin desiring to 
atone, offers her a place in her beautiful 
home for a time, and Bessie falls in love 
with Mrs. Orrin’s brother, J. Warburton, 
Ashe. He proves to be a trifler, however, 
and when she sees him making love to 
another woman, she leaves Mrs. Orrin’s 
home in great unhappiness, leaving no word 
as to where she can be found. Meantime, 
Ashe has gone to England, and while on a 
hunting trip comes across an ancient cup. 
He is unable to forget Bessie and in re- 
sponse to an urgent message from his sister 
to help in tracing the girl, returns to New 
York. He is visited by a stranger in Tony 
Pantelli who demands money for Bessie. 
Ashe refuses as he distrusts the man. Tony 
knocks him senseless and steals the cup. A 
rapid drama follows, in which the cup is 
found, returned and stolen again and by 
reason of its peculiar characteristic of shin- 
ing in the dark is regarded as a high 
treasure. It eventually reunites Bessie and 
Ashe. 


If you play “East Is West” put 
in a few more rows of seats. 

When the combination of your 
exploitation and the early visit- 
ors’ word of mouth eulogies gets 
under way you’ll need ’em. — F. T. 


“For Your Daughter’s Sake” 

Grace Darling the Star in J. W. Produc- 
tion With Nita Naldi and Virginia Valli. 

Reviewed by Mary Kelly 

Its pleasing array of feminine charm and 
talent is the leading merit of “For Your 
Daughter’s Sake.” Grace Darling, the star, 
is one of three screen favorites who appear, 
any one of whom is self-sufficient in hold- 
ing the attention. The others are Nita 
Naldi and Virginia Valli. While the roles 
for these two latter are not prominent 
nor especially flattering the use of their 
names in exploitation should not be omitted 
because both of them have at present an 
assured drawing power. 

The material limits the cast to some ex- 
tent. There is not much novelty in the 
story of the girl who sells herself in mar- 
riage to the highest bidder, so as to repair 
the family fortune. Furthermore the 
directing is somewhat at fault. There is not 
sufficient action to make the performance 
vivid, but rather a tendency toward posing 
that seems to be deliberate, as all mem- 
bers of the cast show it. 

Grace Darling has a sympathetic part 
which she handles with poise. Nita Naldi 
gives a glowing performance and excites 
interest as to what she could do if the part 
were more elastic. Virginia Valli, too, leaves 
a desire to see her in a less limited role. 
The most effective masculine characteriza- 
tion is that of James Cooley as the crook. 

THE CAST 

Needa Searles Grace Darling 

Hugh Stanton Rod La Rocque 

John Davis Warren Anders Randolf 

“Mrs.” James T. Barnes Nita Naldi 

Frederick Searles Stephen Grattan 

Mrs. Searles Alice Gordon 

Ethel Searles Virginia Valli 

Toppy Harlan James Cooley 

Story and Scenario by Willard Mack. 

Direction by Burton King. 

Length, 4,963 Feet. 

THE STORY 

Needa agrees to marry her father’s busi- 
ness rival so as to save the family bank 
roll. She is in love with Hugh Stanton, 
a young engineer, but gives him up for her 
father’s sake and becomes the unhappy wife 
of John Davis Warren. After a time life 
becomes unbearable with him, because War- 
ren is jealous of her past due to some false 
reports which Mrs. James Barnes, an ad- 
venturess, has given him. Warren, how- 
ever, is still in love with her and calls 
for her at her home to take her back. She 
refuses, and he goes to Mrs. Barnes. Stan- 
ton is lured there by a false message just 
as Warren is shot, but an unexpected witness 
saves Stanton’s reputation and with the 
death of Warren he is free to marry Needa. 

Exploitation Angles: Play heavily on the 

names and finish off with the title. To get 
the names over a good scheme would be a 
voting contest between the three favored 
players, with the announcement that the 
result will be wired to the winner. 


Program and Exploitation Catchlines: 

The Story of a Man Who Was a Trifler 
and His Discovery of a Precious 
Treasure — the Cup With the Ancient 
Legend — Its Remarkable Effect Upon 
His Life and the Girl Who Loved Him. 

Exploitation Angles: Play on the novelty 

of the production even above the excellence 
of the cast. Make a side appeal to those 
who love Tennyson’s Idyls of the King and 
hook in to his work and to Thomas Mallory 
for a book angle. Don’t slide this over with 
the usual advertising. Make them realize 
it is something bigger and better. 


“The Curse of Drink” 

This One Revives Exciting Moments of 
“Nigger Heaven” and “Thriller” 

Days 

Reviewed by Roger Ferri 

“The Curse of Drink” is just what you 
expect it to be — thrilling melodrama with a 
drunken dad and a bootlegging combina- 
tion thrown in for good measure. It makes 
no pretense at being a “problem” picture — 
and it isn’t. Neither does it aim to please 
the highbrows. It’s just melodrama that re- 
calls happy days when for a dime one could 
occupy a front seat up in “nigger heaven,” 
cheer the good-looking hero, charming 
heroine and hiss the villain. And there is 
that rotund comedian one looked for so 
carefully in the old days. But it’s melo- 
drama and you get it in this one. 

Bobby North is nobody’s “daddy.” He’s 
in this business for what money he can 
make. He knows what the market wants 
and he’s had his eyes wide open as to w'hat 
the public flocked to see. And he has taken 
this picture that Export & Import Film 
Company, Inc., are presenting, but which 
Weber & North is State righting, and 
brought it up to the point where it is bound 
to please those who like melodrama and 
judging from what is transpiring within 
trade circles, the public is demanding such 
entertainment, for that class of pictures are 
by far in the majority. Revivals are com- 
mon these days and with the bootlegger 
gag thrown in, the showman can do a lot 
of things with this picture. It’s propaganda 
for nothing and nobody. It’s a melodramatic 
picture with plenty of thrilling moments 
and a cast of names that should draw. 

“The Curse of Drink” has a novelty twist 
that the alert showman will grab. There 
are a hundred one exploitation angles on 
this picture — and none of these need touch 
on the prohibition question in any way. 
There is a chase involving tw T o trains that 
is the genuine thing. They didn’t overlook 
a bet. 

Harry Hoyt, w'ho cleverly directed this 
one, didn’t overlook a single melodramatic 
“come-on.” He grabbed all the tricks, 
modernized them to the extent where any 
audience, delighting in the revival on the 
screen of sure-fires of years ago, is bound 
to be satisfied by this one. The stuff is 
there in every quantity, but mark well these 
words : it’s distinctly a showman’s picture. 

The cast includes Harry T. Morey, who 
scores a distinct hit as the drunkard en- 
gineer. Edmund Breese hasn’t much to do, 
but he’s in the cast. Marguerite Clayton, 
as the heroine, is a success. Miriam 
Battista again registers big, grabbing every 
scene in which she appears. George 
Faw'cett, Brinsley Shaw and the others 
work hard. 

THE CAST 

Bill Sanford Harry T. Morey 

John Rand Edmund Breese 

Ruth Sanford Marguerite Clayton 

Ben Flartey George Fawcett 

Baby Betty Miriam Batista 

Sam Handy Brinsley Shaw 

Mother Sanford Alice May 

Harry Rand Albert Barrett 

Margaret Sanford June Fuller 

Scenario by Harry O. Hoyt 
Directed by Harry O. Hoyt 
Produced by Joseph M. Shear 
Length, 5,900 Feet 
THE STORY 

Ruth Sanford, a stenographer, is in love 
with her employer’s son, Harry Rand. The 
latter’s father opposes the match because of 
the fact that Ruth is the daughter of the 
village drunkard, a victim of modern boot- 
legging. In a squabble over Rand, the 
drunkard’s child is rendered unconscious. 
Crazed by bootleg liquor. Sanford sets out 
to kill Rand. But a surprising turn in a 
situation that promised to bring unhappiness 
to two families brings about an understand- 
ng that results In the reconciliation of the 
two sweethearts, the reformation of San- 
ford. and the arrest of the bootlegging 
“ring.” 


September 9, 1922 


MOVING PICTURE WORLD 


139 


“Dusk to Dawn” 

Florence Vidor Shines in Double Role — As- 
sociated Exhibitors Release. 

Reviewed by Fritz Tidden 

Souls have and always will furnish in- 
teresting dramatic material for screen 
transference. Also dreams. Both seem to 
intrigue the average theatre patron, and 
it cannot be said that authors have 
neglected them. Such pure fiction may be 
introduced under the head of plausibility 
when the story or film is commenced with 
the direct question asked if you believe in 
metempsychosis or that dreams have real- 
ity. Everyone knows that the spectator, 
thirsting for entertainment, will answer 
“yes” — with the qualification that it might 
be for the time being only, or to help out 
the dramatist. Then proceeds fictional 
drama the quality of which is determined, 
of course, by the manner in which the soul 
or dream theme is treated. 

Both dreams and souls come into the 
limelight in “Dusk to Dawn,” when the on- 
looker is asked to accept the premise that 
the heroine’s soul, habiting her body here 
in America in the daytime, jumps to India 
when sleep overcomes her and enters the 
mortal person of a young beggar girl. The 
American passing through a hectic story 
herself daily then nightly dreams the story 
of the Indian beggar maid. This business 
has enabled the producers to tell what is 
really two stories, both of them rather 
familiar in essence but given an entirely 
new appearance in the soul-dream treat- 
ment. And the manner in which they are 
worked out will firmly retain the interest 
of the spectator who has a penchant for 
such pictures, and they are legion. The 
lavishness of the mounting, showing good 
taste in the local scenes and a highly pic- 
turesque investiture in the incidents in 
India, is one of the strong points of appeal. 

But for this Florence Vidor must receive 
the greater portion of the credit for holding 
the attention. In her performances of the 
two roles, the American and Indian girl, 
she exerts such a gratifying amount of 
technical ability in acting and displays such 
an ingratiating personality that you are led 
to accept in good faith the peculiarities of 
the story. She is assisted by a capable 
company in support, and the director has 
accomplished much in the staging of the 
production. 


THE CAST 
Marjorie Latliam ) 

Aziza f Florence Vidor 

John Latham James Neill 

Mrs. Latham Lydia Knott 

Ralph Latham Truman Van Dyke 

Phillip Randall Jack Mulhall 

Mark Randall Herbert Fortier 

Bubette Norris Johnson 

Rajah Nyhal Singh Peter Burke 

Marua Nellie Anderson 

Nadar Gungi Sidney Franklin 

Adapted from the novel, “The Shuttle Soul,” 


By Katherine Hill 
Scenario by Frank Howard Clark 
Directed by King Vidor 
Photographed by George Barnes 
Length, 5,200 Feet 

THE STORY 


Marjorie Latham has never told anyone 
about her nightly dreams, in which she takes 
up the continuation of the life of Aziza, a 
beggar girl in India. To save her brother 
from imprisonment for forgery, Marjorie 
promises the bank’s president to break up 
the affair between the president’s son, Phillip, 
and Babette, a notorious dancer. She and 
Phillip fall in love, but she breaks their en- 
gagement when, in her dream, Aziza weds 
the Rajah. 

Marjorie learns that her brother loved 
Babette. By a ruse she gets the evidence that 
clears him of guilt. At this time, in India, 
the Rajah is killed while lion hunting. His 
widow offers herself as a living sacrifice on 
his funeral pyre. Marjorie has fainted. The 
soul that was hers and Aziza’s remains and 
restores life to Marjorie and freedom from 
a double life. 


Interesting views from every- 
where make up short subjects of 
value in the Urban Movie Chats 
and the Urban Popular Classics. 
A series of the “Classics” now be- 
ing shown giving intimate views 
around New York City, will bring 
before New York citizens, them- 
selves, many subjects of interest 
with which they are not cog- 
nizant, and give to the great 
masses outside New York inter- 
esting sidelights on the metropolis 
such as always prove entertain- 
ing in every section of the coun- 
try. — T. S. daP. 


“A Ring Tail Romance” 

The comedy in this Educational release 
is for the most part mild and painstaking. 
It will be appreciated more for the value 
of the monkey’s clever performance. It 
seems to indicate a not altogether prac- 
tical use of a good-sized cast, as their 
efforts are scattered and not in every case 
contributory to the whole. The monkey 
is an unusually adept performer and his 
dramatic part in saving the child’s life will 
surely come in for applause from the 
youngsters. The automobile accident raises 
another question and in its effect of serious- 
ness may appear to some to be a false 
note when comedy is uppermost.— M. K. 


“Ma and Pa” 

The laughs in this number are mostly 
confined to situations and stunts typical of 
earlier Alack Sennett comedies. This does 
not mean that they are no longer funny as 
for instance the scenes of the burlesque 
on the stage melodrama. Here some of the 
old tricks are worked with hilarious re- 
sults. The earlier part of the picture is 
crowded with familiar foolishness as for 
instance the career of a paperhanger de- 
picted in a style that will amuse those who 
enjoy slapsticks. Considered as a whole 
the subject gives the impression that if one 
particular line had been followed instead 
of scattering the interest, the comedy would 
be more effective. Billy Bevan and Mil- 
dred June are featured. A First National 
release in two reels. — M. K. 


“The Landlubber” 

This is the best of the recent Paul Parrott 
single-reel comedies distributed by Pathe. 
There are several humorous situations 
which should bring laughs from any audi- 
ence. The hero rescues an heiress from 
drowning, but has a hard time letting her 
know about it. Finally he starts to elope 
with her, but father has other views. All 
sorts of complications ensue and finally 
father and the other suitor are shanghaied 
as a crew for the hero’s yacht. The life 
preserver stunt and the one with the man- 
nikin are particularly clever. — C. S. S. 

“Adventures of Roving 
Thomas” 

This Urban Popular Classic takes the 
spectator on a sight-seeing tour around 
New York giving different views of the 
city and showing the inhabitants at work 
and play. One of the “shots” shows the 
inhabitants of the East Side congested dis- 
trict still staying in their homes while re- 
pairs of magnitude are going on — for in- 
stance the tearing down of whole fronts of 
their dwellings, leaving the occupants in full 
view from the street. — T. S. daP. 



M ANY CRITICS believe that 
Sinclair Lewis’s “FREE AIR - ' 
is just as big a story as his 
record - smashing 
“Main Street.” It 
was one of the 
most popular sto- 
ries ever run in the 
Saturday Evening 
Post, and the pic- 
ture is a master- 
piece of good, wholesome out-of-doors 
entertainment — an ideal picture for 
hot weather showing. 

From the moment the shiny new 
roadster is rolled off a flat car in the 
St. Paul railroad yards, the action 
never slows up a second Straight 
across the Northwest it flies, with 
Milt Daggett’s weird “bug” in hot 
pursuit, and amid the vicissitudes of 
mud-holes and road bandits, there de- 
velops one of the most appealing love 
stories of the screen 

Awe-inspiring shots of action in 
Glacier Park vie with a rattling good 
yarn in holding the beholders’ atten- 
tion. 

You .won’t have to exaggerate the 
aucience-appeal of "FREE AIR.” It 
blazes Its own 
trail of popular- 
ity. “A thor- 
oughly enjpy- 
ably comedy- 
drama," says 
the Exhibitors' 

Herald , “that 

makes excellent 
hot weather entertainment." 

“Because it is a very good picture," 
declares the Moving Picture World, 
"and affords exceptional chances for 
exploitation, ’FREE AIR’ offers dou- 
ble security to the buyer." 

Write to nearest HODKfNSON 
EXCHANGE for interesting cam- 
paign book. 

iCc Sk 




HODKINSON 

PICTURES 




140 


MOVING PICTURE WORLD 


September 9, 1922 


“The Valley of Silent Men” 

Curwood Story of Mounted Police, Made by 
Cosmopolitan, Is Stirring and 
Effective Melodrama 
Reviewed by C. S. Sewell 

Mystery, strong dramatic situations, 
straightforwardness of plot and unusually 
effective scenes of snow-clad mountains, 
are the outstanding points of the Cosmo- 
politan production, "The Valley of Silent 
Men,’’ distributed by Paramount. It is 
based on a James Oliver Curwood story and 
has the virility and red-bloodedness char- 
acteristic of this author’s work. 

Because there have been so many stories 
dealing with the Northwest Mounted Police, 
you are liable to be prejudiced in the be- 
ginning, but you soon find that the picture 
which is melodramatic, has a real theme; 
almost immediately you are faced with a 
dramatic situation which involves a mystery. 
With this holding you, you are made aware 
of the big theme of the picture; that is the 
assumption of the crime by a member of 
the force who believes he has been mortally 
wounded, only to find that he will live and 
must free himself from this terrible situa- 
tion. There is a girl who also knows he is 
innocent and wants to save him, this begins 
to spell romance. Then there is the strong 
situation where the hero’s best friend has 
to find and arrest him for murder, though 
believing him innocent. 

The wmrking out of the story holds the 
interest throughout, though the coincidence 
of the three vital characters meeting in the 
cabin is its weakest point. There are sev- 
eral situations that will grip the spectator. 

As was to be expected from Frank 
Borzage, the direction is excellent; he has 
struck closely to the main theme without 
running in any diverting outside matter, 
and has held the suspense and mystery well. 
Aiding the straight-forward handling of the 
story is an unusually small cast, only one 
woman and about seven men appear in the 
picture, even in minor roles, and there is an 
entire absence of aggregations of people or 
even a person who is not vital to the theme. 
This small cast is unusually well-selected 
and every member does excellent work, 
fitting right into their roles. 

Though some may feel that she dresses 
too picturesquely for the surroundings on 
the outpost of civilization, Alma Rubens, 
who is featured, gives a fine performance 
as the only feminine character. Particu- 
larly effective is her repressed work when 
she finds that despite her vigilence a third 
murder has been committed under circum- 
stances which point to her. Lew Cody, 
better known for his work as a heavy, also 
proves excellent in a straight heroic role. 

Particularly striking are the scenes and 
action on the sides and summit of snow- 
covered mountains. Not only are they 
scenically beautiful, but are backgrounds 
for effective and dramatic work. You feel 
that the struggle to cross the glacier and 
the fall of the two leading characters on 
opposite sides, is very real. 

While the production will undoubtedly 
appeal to Curwood fans and admirers of 
stories of the Mounted Police and Far 

North, it should also prove a good box- 
office attraction in any type of house. 

THE CAST 

Marette Radison Alma Rubens 

Corporal Kent Lew Cody 

O’Connor Joseph King 

Pierre Radison Mario Majeronl 

Inspector Kedsty George Nash 

Jacques Radison J. W. Johnston 

Story by James Oliver Curwood 
Scenario by John Lynch 
Directed by Frank Borzage 
Photographed by Hester Lyons 
Length, 6,491 Feet 

THE STORY 

Corporal Kent of the Mounted, wounded in 
discharge of his duty, and believing he will 
die, assumes the guilt for a mysterious 


“Stick close to your theme, cut 
out all unnecessary characters as 
well as action and scenes, hew to 
the line and centralize your inter- 
ests.” 

This appears to have been Di- 
rector Borzage’s idea with the re- 
sult that the Cosmopolitan pro- 
duction “The Valley of Silent 
Men” will hold the interest of an 
audience throughout. Even the 
strikingly beautiful views of the 
Canadian Rockies are back- 
grounds for vital dramatic action. 
— C. S. S. 


“The Unconquered Woman” 

Lee and Bradford Present Rubye De Re- 
mer in a Picture That Follows Style 
of Other Successes. 

Reviewed by Mary Kelly 

“The Unconquered Woman” offers a 
variety in the way of settings and action 
in a style that has proved pleasing in other 
pictures. From the wastes of the frozen 
North to Greenwich Village haunts it runs 
the gamut of locale and keeps up a similar 
pace, emotionally. 

For the most part it is a woman’s picture. 
Rubye de Remer has a sympathetic role as 
the woman who seems destined to never 
quite realize the experience of real love, 
but is victimized by misunderstandings and 
deception. At times there seems too much 
effort to make her condition constantly 
pitiful. Her own performance could be im- 
proved if she were less melodramatic. As 
it is her work suggests more the old-school 
methods and is effective in a spectacular, 
strenuous way. Her sincerity, however, is 
a strong feature and her costumes, like the 
settings in the latter part of the picture 
appeal because of their elaborateness. 

The picture follows a pattern that has 
been used successfully many times. In ex- 
ploitation, the theme is worthy of empha- 
sis and will make a positive appeal to 
women if handled in a way to arouse their 
sympathies. 

THE CAST 

Helen Chapelle Rubye De Remer 

Bruce Devereux Walter Miller 

Serge RonoS Fred Jones 

Millieent Frankie Mann 

Antonio Kick Thompson 

Story and Scenario by John Clymer 
Direction by Marcel Perez 
Length, 4,611 Feet 

THE STORY 

Helen, trying to get money to replace what 
her brother has stolen, enters a gambling 
den in the Far North and offers herself in 
marriage to the winner in return for the 
money. Antonio, the half-breed, is the win- 
ner, but to save her from such a miserable 
marriage, Bruce Devereaux, a stranger, bets 
with him and wins her himself. He marries 
her, so Helen believes, but discovers that the 
parson was a fake. She leaves the country, 
and, coming to New York, meets her old 
music teacher and marries him. He proves 
faithless, and her small son is her only com- 
fort. Finally, when he has fooled her once 
too many times, Bruce comes back, and she 
finds that he, like herself, believed that the 
parson who married them was on the square. 
Helen’s husband has become so deeply in- 
volved in his love affairs that he is afraid 
to face those he has harmed. He takes his 
own life, and Helen is free to marry Bruce. 


murder to pay a debt of gratitude. About 
this time a girl appears and installs herself 
in the inspector’s home. She knows who has 
committed the murder. Kent recovers and 
is arrested. She daringly effects his rescue, 
and hides him over night in the inspector's 
home. In the morning the inspector is found 
to have been strangled with a rope of 


“Top o’ the Morning” 

Universal Offers Gladys Walton in Pleas- 
ing Irish Story That Follows Familiar 
Lines. 

Reviewed by C. S. Sewell 

One of the most simple little pictures 
that makes the average theatregoer or the 
man who drops in to the movie for an hour 
or so feel that his time has been pleasantly 
spent, is “Top o’ the Morning” a Universal 
production starring Gladys Walton. After 
you get into the story, you have no trouble 
in following the action or in deciding just 
how it is all going to turn out, for it runs 
true to type, but at the same time there is 
a feeling of satisfaction when it turns out 
as you figured it would. 

The story is melodramatic and coincid- 
ences play a large part in the working out 
of the theme, but despite the improbabili- 
ties of the story, the charm and appeal of 
Gladys Walton hold your sympathy and 
interest. The photography is deserving of 
special mention, some of the scenes, par- 
ticularly those depicting rural Ireland, for 
of course with this title it must be an Irish 
story, are really beautiful examples of soft- 
toned camera work. 

The work of the supporting cast is satis- 
factory throughout. Harry Myers plays 
opposite the star and while he is entirely 
satisfactory he does not have as much 

opportunity for his talents in this “straight” 
role as he has had in light comedy ones. 
Altogether it is well up to the standard 
ot recent Universal releases and should 
satisfy the average audience particularly in 
neighborhood houses, for although there is 
a crook in the picture there is no gun play, 
sex problems, or anything of that kind. 

THE CAST 

Jerry O’Donnell Gladys Walton 

John Garland Harrv Mvers 

Dot Garland Doreen Turner 

Dermott O’Donnell William Welsh 

Father Quinn D | ek Cummings 

Mrs. O’Donnell Margaret Campbell 

Eugene O’Donnell Ralph McCullough 

Blakely Stone Harry Carter 

Thomas Wilson William Moran 

Miss Murdock Martha Mattox 

Adapted from Play by Anne Caldwell. 
Scenario by George Randolph Chester and 
Wallace Clifton. 

Directed by Edward Laemmle. 

Photography by Charles Stumar 
Length, 4,627 Feet. 

THE STORY 

Jerry O’Donnell while getting ready at her 
home in Ireland to come to her father in 
America, is nearly run over by an auto be- 
longing to John Garland, an American mil- 
lionaire. Immediately she and Garland’s 
little daughter became great pals. Later 
in America, inhuman treatment by her 
stepmother causes her to leave home. 
Meeting Garland she is engaged as a com- 
panion to his little daughter. Her brother 
is employed in Garland’s bank and becomes 
the innocent dupe of the crooked cashier. 
He goes to Garland’s home at night to steal 
an important letter, is recognized by Jerry 
who helps him get it. She is sent to jail 
but Garland has her released though he 
has lost faith in her. The boy returns the 
letter unopened, everything is cleared up 
and Garland declares his love for Jerry. 


woman’s hair, as were two others before him. 
Realizing their love for each other, the girl 
and Kent flee. Attempting to reach “The 
Valley of Silent Men" by crossing a glacier 
in winter, the rope breaks and they are 
separated, but Kent finally wanders into a 
cabin in which he finds the girl and Pierre 
Radison. Radison reveals the fact that he 
is the girl’s father and has killed the three 
men in revenge for their having murdered 
his wife many years before. O'Connor, sent 
to "get” Kent, his best friend, arrives in time 
to hear the confession. Radison dies, and 
Kent and the girl find happiness. 

Exploitation Angles: Play hard on Cur- 

wood's name, making the cast secondary. 
Then sell the mystery angle and play up the 
rope of woman’s hair with which the three 
murders are committed. 


September 9, 1922 


MOVING PICTURE WORLD 


141 


CURRENT AND ADVANCE FILM RELEASES 

Together with Index to Reviews and Consensus of Trade Paper Criticisms. 


AMERICAN RELEASING 


Review Consensus Footage 


Destiny’s Isle 


Moon gold 

The Amazing Lovers. 


Man and Woman. 
The Challenge . . . 


George Beban 

Aug. 

5 .... 


26 

... 6,200 

.Glenn Hunter 

•June 

23... 


10 ... 

5,200 

.Nanuet Prod 






Pyramid Prod 

May 

6 .... 


20 ... 

7,382 

. Finis Fox Prod 


12 .. 




. Balshofer Prod 

• Aug. 

12 .. 



... 5,000 

. Chaudet Prod 





. Earle Prod 

■ Tuly 

22 .. 



... 5,489 

. Herold Prod 

.June 

17 .. 


24 .... 

5,044 

. S. E. V. Taylor Prod 




... 5,000 

. Betty Blythe 

. May 

20... 


10 ... 

5,500 

.Monroe Salisbury... 

. June 

24 . 

...July 

1 .... 

5,912 

. Welsh-Pearson Prod 

■ Aug. 

26 .. 




. Pyramid Prod 

• Aug. 

19 .. 




• Will Bradley 

.May 

21 .. 



... 2,000 

. Jans Prod 




. . . 6,000 

. Louise DuPre 





. . . 5,000 

.Dustin Farnum 





... 5,000 

.Jans Prod 






.Dolores Cassinelli ... 






. Russell Simpson 

■ Aug. 

19 .. 



... 5,609 

. Curwood Prod 

Sept. 

2 ... 



... 4,549 

Dirigi Prod 




... 6,000 

, Davis-Chaudet 





, ... 5,609 

, Frothingham 







ARROW 


The Broken Silence 

.Special 



. ... 5,927 

Impulse 

• Neva Gerber .... 



. ... 5,000 

The Marslial of Moneymint 

■ Jack Hoxie 



.... 5,000 

Chain Lightning 




Watching Eyes 

.Dog Story 



.... 4 577 

One-Eighth Apache 

God’s Country ana rne Law. 

. Roy Stewart 



.... 5,000 

.Curwood Story 

....July 15 .. 

...July 29 

. . . 5,332 

Why Not Now 

.Eddie Lyons .... 


.... 2,000 

Follow Me 

. Eddie Lyons 




The Janitor’s Wife 




But a Butler 





Fresh Paint 


» 



Hands Up 




.... 2,000 

The Star Reporter 

.Billie Rhodes 



... 4,622 

Motion to Adjourn 

.Roy Stewart 



... 5.785 

The Price of Youth 

. Neva Gerber 



... 4,995 


ASSOCIATED EXHIBITORS 

Lady Godiva Hedda Vernon May 6 June 3 5,700 

The Unfoldment Florence Lawrence. ..July 1 Aug. 19 5,795 

Silas Marner Special May 27 Tune 17 6,344 

The Real Adventure Florence Vidor July 8 July 29 4,932 

Up in the Air About Mary. Louise Lorraine July 8 Sept. 2 4,627 

When the Devil Drives Leah Baird July 8 4,687 

Grandma’s Boy Harold Lloyd Aug. 12 4,377 

Dusk to Dawn Florence Vidor Sept. 9 5,200 

When Husbands Deceive. ...Leah Baird Sept. 2 5,708 

EDUCATIONAL FILMS CORP. 

Kinograms Twice a Week. 

A Hickory Hick Christie 

Torchy Steps Out Johnny Hines . 

A Penny Reward Campbell 

A False Alarm Campbell 


Review Consensus Footage 

The Crimson Challenge Dorothy Dalton April 22 May 13 4,042 

The Spanish Jade All Star May 27 June 24 5,111 

Is Matrimony a Failure? All Star April 29 May 20 5,6 1 2 

The Good Provider Vera Gordon April 22 May 19 7,753 

For the Defense Ethel Clayton May 6 Aug. 19 4,905 

Beyond the Rocks Swanson — Valentino. .. May 20 June 10 6,740 

The Wife Trap Mia May May 12 5,207 

The Beauty Shop All Star May 20 6,536 

North of the Rio Grande. . .Holt-Daniels May 27 June 10 4,770 

The Man From Home All Star May 13 June 10 5,985 

The Ordeal Agnes Ayres June 10 ...July 15 4,592 

The Bachelor Daddy Thomas Meighan May 6 6,229 

Across the Continent Wallace Reid ....May 6 June 3 5,502 

Over the Border Compson-Moore June 17 June 24 6,837 

The Woman Who Walked 

Alone : Dorothy Dalton June 17 June 24 5,947 

Our Leading Citizen Thomas Meighan June 24 July 8 6,634 

The Eyes of the Mummy. . . Pola Negri Aug. 19 3,805 

While Satan Sleeps Jack Holt July 8 July 22 6,675 

South of Suva Mary Miles Minter..July 1 July 8 4,639 

The Top of New York May McAvoy July 1 July 2? 5,148 

The Man Unconquerable Jack Holt July 29 Aug. 5 5,795 

For the Defense Ethel Clayton May 6 Aug. 19 4,905 

The Greatest Truth Mia May August 6 ...Aug. 5 5,257 

Borderland Agnes Ayres Aug. 5 Aug. 26 5,486 

The Dictator Wallace Reid July 15 Aug. 12 5.221 

The Bonded Woman Betty Compson Aug. 12 5,000 

If Yo'u Believe It, It’s So. ..Thomas Meighan July 22 Aug. 26 6,764 

The Young Diana Marion Davies ,..Aug. 12 6,744 

Mysteries of India Mia May Aug. 5 7,505 

Blood and Sand Rodolph Valentino Aug. 19 7,235 

Nice People DeMille Prod Aug. 26 6,244 

Her Gilded Cage Gloria Swanson Aug. 12 6,249 

FILM BOOKING OFFICE OF AMERICA 

Queen o’ the Turf Foreign Prod Apr. 29 June 10 5000 

Hy Myer Travelaugh Apr. 29 1000 

The Sheik of Araby Warner Reissue May 13 

Th^ First Woman Apr. 29 May 20 4950 

Gay and Devilish Doris May May 27 June 17 4800 

The Glory of Clementina. . .Pauline Frederick June 10 July 15 5700 

The Sign of the Wolf Jack London Story. ..June 24 Aug. 12 4970 

The Understudy Doris May July 8 Aug. 19 4537 

The Fatal Marriage Reissue July 1 4630 

My Dad Johnnie Walker July 15 July 29 5600 

In the Name of the Law Special July 22 Aug. 19 6126 

Up and at ’Em... Doris May 

The Wreckage Special 

Colleen of the Pines Jane Novak July 15 Sept. 2 4738 

The Kick-Back Harry Carey Aug. 5 Aug. 26 5000 


FIRST NATIONAL 


1,000 

• May 20 2,000 

.June 24 2,000 

■ May 13 2,000 

• June 17 2,000 

The Skipper’s Policy Toonerville April 29 2,000 

Toonerville Blues Toonerville June 10 2,000 

Fair Enough Christie 2,000 

Bucking Broadway Christie 2J100 

Mile-a-Minute-Mary Christie 2,000 

Torchy’s Hold Up Johnny Hines 2,000 

Spooks Mermaid 2,000 

Danger Mermaid 2,000 

Poor Boy Mermaid 2,000 

Rapid Fire Mermaid 2,000 

Circus Days Campbell July 1 2,000 

Toonerville Trials Toonerville 2,000 

The One Man Reunion Bruce 1,000 

A Case of Identity Sherlock Holmes July 1 2,000 

The Devil’s Foot Sherlock Holmes 2,000 

The Dying Detective Sherlock Holmes 2,000 

A Scandal in Bohemia Sherlock Holmes 2,000 

The Noble Bachelor Sherlock Holmes July 29 2,000 

One 01’ Cat Cartoon Aug. 5 1,000 

Toonerville Topics Toonerville Aug. 26 2,000 

The First Barber Tony Sarg Aug. 26 1,000 

The Empty House Sherlock Holmes Aug. 26 2,000 

Lookout Below Mermaid Aug. 26 2,000 

The Copper Beeches Sherlock Holmes Aug. 19 2,000 

The Drifters Bruce Aug. 19 1,000 

Torchy’s Nut Sunday Johnny Hines 2,000 

The Yellow Face Sherlock Holmes 2,000 

Treasure Bound Mermaid 2,000 

Torchy’s Feud Johnny Hines 2,000 

That Son of a Shiek Christie 2,000 

Pardon My Glove Christie 2,000 

A Ring Tail Romance Campbell 2,000 

The Devilish Dragon Tony Sarg 1,000 

The Speeder Hamilton 2,000 

FAMOUS PLAYERS-LASKY 

Through a Glass Window... May McAvoy April 29 May 20 4,490 

The Sleep Walker Constance Binney April 22 .... May 13 4,530 

The Devil’s Pawn Pola Negri June 24 July 1 4,712 


Woman’s Side Kath. MacDonald April 15 May 13 5,366 

The Barnstormer Charles Ray April 1 May 20 5,300 

Not Guilty Sylvia Breamer April 1 6,923 

Gas, Oil and Water Charles Ray April 22 April 29 4,500 

The Infidel Kath. MacDonald April 29 May 13 5,377 

The Woman He Married Anita Stewart April 22 May 13 6,562 

The Deuce of Spades Charles Ray May 20 June 10 4,505 

The Primitive Lover Constance Talmadge.May 27 June 17 6,172 

Sonny Rich. Barthelmess . . . June 3 June 17 6,900 

Crossroads of New York Sennett Prod June 3 June 17 6,292 

One Clear Call Stahl Prod June 10 July 8 7,450 

Pay Day Charles Chaplin April 15 May 6 2,000 

His Wife’s Relations Buster Keaton May 6 2,000 

Domestic Relations Kath. MacDonald June 17 July 29 5,192 

Fool’s First Neilan Prod July 8 5,773 

The Half Breed Morosco Prod July 1 July 29 5,484 

Slippery McGee Morosco Prod 6,000 

Smudge Charles Ray July 15 4,716 

Alias Julius Caesar Charles Ray 

Bellboy 13 

Lorna Doone 6,000 

The Man Who Smiled 6,000 

Pawned 6,000 

Hurricane’s Gal Dorothy Phillips Aug. 5 Sept. 2 7,944 

The Masquerader Guy Bates Post Aug. 26 7,835 

Heroes and Husbands Katherine MacDonald. Aug. 26 5,460 

Rose of the Sea Anita Stewart Aug. 19 6,037 


FOX FILM CORP. 


Monte Cristo Dumas Story April 1 Aug. 5 8,000 

Nero Violet Mersereau June 3 June 24 11,500 

Silver Wings ... Mary Carr June 3 June 17 8,275 

A Fool There Was Estelle Taylor July 29 Aug. 5 7,000 

Shackles of Gold William Farnum May 20 June 3 5,957 

Without Fear Pearl White April 29 4,406 

The Fighting Streak Tom Mix May 6 June 3 4,888 

Western Speed Buck Jones May 13 June 3 5,000 

To a Finish Buck Jones June 10 4,100 

Strange Idols Dustin Farnum June 10 July 15 4,999 

Rough Shod Charles Jones June 17 June 24 4 , 486 

The Men of Zanzibar William Russell June 10 July 15 4,999 

Very Truly Yours Shirley Mason "May 13 June 17 5’000 

Lights of the Desert Shirley Mason June 24 July 1 4!809 

Elope If You Must Eileen Percy April 1 April 13 4*995 

The Yellow Stain John Gilbert May 27 June 3 5^006 

Special Delivery A1 St. John May 6 2,000 

The Village Sheik A1 St. John June 10 2^000 

Excuse Me, Sheriff May 20 2,000 

The Landlord June 10 2*000 

(Continued on following page) 


142 


MOVING PICTURE WORLD 


September 9, 1922 


( Continued from preceding page ) 




Review 

Consensus 

Footage 

For Big Stakes 


•••July 1 


8 .. 

. . . . 4.378 

A Self-Made Man 





.... 2.000 

Safe in the Safe 



• Aug. 

26.... 

. ... 4.900 

Trooper O’Neil 






The Fast Mail 


...July 15 .... 

..July 15.... 

. ... 6,000 

The New Teacher 


...Aug. 5 



. ... 4,453 

Court Plastered 


. . . Aug. 5 



. ... 1,000 

Falls Ahead 





. ... 1.000 

Tust Tony 





.... 5,223 

West of Chicago 





. . . . 4,694 

All Wet 





.... 2,000 

The Reporter 





. . . . 2,000 

The Crusader 






Honor First 






Oathbound 





. . . . 4,468 

Moonshine Valley 


...Sept. 2 



.... 5,619 

A Pair of Aces 







The Mechanical Horse 

...Cartoon Comedy .. 

Review 

. . . Aug. 26 . . . 

Consensus Footage 

1000 

Hear ’Em Rave 

...Lloyd Reissue 


Makin’ Movies 

...Johnny Jones 



Wet Weather 

. . . Paul Parrott 



Fearless Fido 

...Cartoon Fable 


700 

Off the Trolley 

...Lloyd Reissue .... 


His Own Law 

...Leo Maloney 


2000 

The Boy and the Bear 



Si Senor 



1000 

One Terrible Day 

. . . Children 


2000 

The Two Explorers 



Come and Get Me 




Count the Votes 



1000 

365 Days 

...Snub Pollard 


2000 

The Two Slick Traders.. 

. . . Cartoon Fable 

700 

Two Scrambled 

. . . Lloyd Reissue 


1000 


GOLDWYN 


A Poor Relation Will Rogers 

His Back Against the Wall. Special 

Watch Your Step 

Come on Over Colleen Moore .. 

All’s Fair in Love 

Head Over Heels 

When Romance Rides Zane Grey Story. 

Air. Barnes of New York... Tom Moore 

Yellow Men and Gold 

Golden Dreams 

Centaurs of the Field Sport Film 

Winter Pep Sport Film 

The Dust Flower Helene Chadwick 

Always the Woman Betty Compson . 

A Rex Beach Week-End Sport Film 

Taking the Air Sport Film 

By-Way Champions Sport Film 


.April 15 April 22, 

.June 10 July 22. , 

.April 29 June 10. 

March 25 ...April 1. 

April 15 

May 6 May 20. 

April 22 May 20. 

May 20 July 15.. 

June 10 July 1... 

June 17 June 24. 


— July 15 Aug. 5 

July 22 Aug. 12. 


4,669 

4,680 

4,713 

5,556 

4,979 

4,500 

5.003 

4,804 

5,224 

4,618 

1,000 

1,000 

5,651 

5.450 

1,000 

1,000 

1,000 


Hope 

No Trespassing 

Heart’s Haven 

The Grey Dawn 

The Veiled Woman 

Great Authors 

Movie Chat 

Slim Shoulders 

Alarried People .... 
Affinities 


HODKINSON 


..Mary Astor 



. . . 3,000 

. Irene Castle 



... 6,900 

. Adams-McKim .. 

....Aug. 12... 

.Adams-McKim .. 



. . . 5,600 



....Aug. 19.... 

. . . 5,300 

.Series 



• Series 




.Irene Castle 

. ...Tuly 8 ... 


. . . 6.0S0 

.Mabel Ballin 

....July 29 ... 


... 5,200 

. .Colleen Moore 




PLAYGOERS PICTURES 

The Man She Brought Back.Chas. Miller Prod 5000 

Face to Face Reginald Warde 5000 

The Island of Doubt Wyndham Standing 5483 

Through the Storm Ross Prod 5905 

Her Alajesty Mollie King Aug. 19 4331 

The Woman Who Came 

Back Aug. 12 5,106 

Hills of Missing Men J. P. McGowan Apr. 8 May 27 5074 

Tracks Noble Johnson June 17 July 8 5456 

Sunshine Harbor Margaret Beecher 4300 


SELZNICK 


Evidence E. 


Selznick News Two a Week. 


June 

17 .. 

...July 

8 .... 

.... 5000 

Apr. 

15 ... 


13 ... 

.... 5700 

Apr. 

22 ... 


29 ... 

.... 7500 

June 

24 .. 

...July 

1 ... 

.... 4622 

Mar. 

18 ... 


6 ... 

.... 4000 

June 

17 .. 


24 ... 

.... 4725 

June 

10 .. 

• ••July 

22 ... 

.... 6000 

May 

27 ... 


24 ... 

.... 5000 

Aug. 

26. . . . 









UNITED ARTISTS 


The Ruling Passion. 


Sept. 

10... 



Oct. 

1 

...Oct. 8 

.... 9984 

. Feb. 

4 ... 

....Feb. 18 .... 

... 7U00 

Feb. 

25 ... 



. Apr. 

1 ... 

Apr. 22 . . . . 

... 7000 


METRO 


UNIVERSAL 


Hate Alice Lake ..Alay 13 5,500 

Missing Husbands French Film Alay 27 6,601 

They Like Em Rough Viola Dana June 10 July 29 4,706 

Sherlock Brown Bert Lytell June 3 July 15 4,800 

The Five Dollar Baby Viola Dana June 10 June 24 6,000 

The Stroke of Midnight Foreign Film Tune 17 July 1 6,000 

I Can Explain Gareth Hughes Feb. 25 April 1 5,000 

Don’t Write Letters Gareth Hughes May 13 June 10 4,800 

The Prisoner of Zenda Rex Ingram Prod May 6 June 3 lo[467 

Fascination Mae Murray April 29 May 20 7^940 

Black Orchids 7,000 

Forget-Me-Not Burston Prod July 29 .... 

The Face Between Bert Lytell July 29 Aug. 5 5,000 

A Ladies’ Man Bull Montana Aug. 26 3,000 

The Hands of Nara Clara K. Young Aug. 19 6^000 


PATHE 


The Isle of Zorda French Prod Mar. 18 May 6 

Nanook of the North Eskimo Film June 24 July 1 

Go Get Em, Hutch — Serial. Charles Hutchison 

A Little Diplomat Baby Marie Osborne 

Pathe Review Issued Weekly 

Pathe News Twice a Week 

Topics of the Day Issued Weekly 

The Timber Queen Ruth Roland Serial 

Brewing Trouble Cartoon Comedy 

Todd of the Times Keenan Reissue 

Spring Fever Lloyd Reissue 

The Dumb-Bell Snub Pollard 

The Sleuth Rolin Comedy 

The Bride to Be Paul Parrott 

The Mischievous Cat Cartoon Comedy Aug. 19 

Going, Going, Gone Lloyd Reissue 

Busy Bees Paul Parrott Aug. 5 

The Hillcrest Mystery Irene Castle Reissue. 


6000 

6000 

1000 

3000 


250 


700 

3000 

1000 

1000 

1000 

1000 

700 

1000 

1000 

3000 

Take Next Car Paul Parrott 1,000 

The Worm That Turned Cartoon Fable Aug. 19 700 

A Gasoline Wedding Lloyd Reissue 1.000 

Supply and Demand Johnny Jones July 29 2,000 

Twenty-One Washburn Reissue 3,000 

Screen Snapshots Every Two Weeks 1.000 

The Stone Age Snub Pollard 1,000 

The Boastful Cat Cartoon Fable Aug. 26 . 1,700 

The City Slicker Lloyd Reissue 1,000 

The Great' Adventure Bessie Love Reissue. .Aug. 19 3 000 

The Song of the Lark Special Aug. 5 2,000 

Touch All Bases Paul Parrott Aug. 12 1000 

The Dog and the Fish Cartoon Fable Aug. 19 700 

Let’s Go Lloyd Reissue 1000 

Cupid by Proxy Baby Osborne ReissueAug. 19 „ 3000 

The Truth Juggler Paul Parrott Aug. 19 1000 

The Farmer and the Mice. .. Cartoon Fable Aug. 19 700 

It’s a Wild Life Lloyd Reissue Aug. 19 1000 

Our Better Selves Ward Reissue Aug. 19 3000 

Rough on Romeo Paul Parrott Aug. 26 1000 


The Trap Lon Chaney May 13 June 3 5481 

Going Straight Pickford Reissue 2000 

The Man Who Married His 

Own Wife Frank Mayo May 6 June 10 4313 

Second Hand Rose Gladys Walton May 13 June 2 5000 

Step On It Hoot Gibson May 20 June 10 4225 

Kissed - Marie Prevost May 27 June 10 4231 

Black Bag Herbert Rawlinson. . June 10 July 15 4343 

Out of the Silent North Frank Mayo June 17 July 22 4211 

Adventures of Robinson 

Crusoe Harry Myers Serial. .June 17 

The Trouper Gladys Walton July 29 A«g. 5 4480 

Human Hearts House Peters July 22 Aug. 5 6350 

The Storm House Peters July 1 July 8 7400 

Trimmed Hoot Gibson July 8 July 22 

Her Night of Nights Marie Prevost July 1 July 22 5000 

Perils of the Yukon Wm. Desmond Serial. July 8 

Afraid to Fight Frank Mayo -Aug. 26 4800 

The Married Flapper Marie Prevost Aug. 19 

The Loaded Door Hoot Gibson Aug. 19 

Bath Day Harry Sweet Aug. 26 2000 

Dead Game Art Acord 2000 

Don’t Shoot Herbert Rawlinson ...Aug. 26 5130 

Accidents Will Happen Neely Edwards 1000 

Kid Love Century Kids 2000 

Come Clean Tom Santschi 2000 

Paid Back Gladys Brockwell 

The Wall Nut Roy Atwell 1000 

Hickville’s Romeo Lee Moran 2000 

Tracked Down Art Acord 2000 

Top o’ the Morning Gladys Walton 

Matinee Idles Neely Edwards 1000 

Sure Shot Morgan Special 2000 

Cured Queenie 2000 

The Gypsy Trail Art Acord 2000 

The Galloping Kid Hoot Gibson 

Young Ideas Roy Atwell 1000 

In the Days of Buffalo Bill. Art Acord-Serial ... Sept. 2 

Foolish Lives Lee Moran 2000 

The Soul Herder Harry Carey 2003 

Caught Bluffing Frank Mayo 

Off the Earth '. Neely Edwards 1000 

The Radio Hound Brownie 2003 

White and Yellow Jack Mulhall 2003 


VITAGRAPH 


Too Much Business 

..Special 


8 ... 

....May 20 ... 

.... 6100 

Gvpsv Passion 

..French Prod 


S .. 


.... 5601 

My Wild Irish Rose 

..Special 


24 . 

....Tuly 1 ... 

.... 7650 

Island Waves 

..Corinne Griffith... 


1 .. 

... Apr 22 .... 

. ... 50X1 

A Virgin’s Sacrifice 

..Corinne Griffith... 

... Julv 

1 ... 

...Aug. 12 

. .. 4867 

The Man From Downing 
Street 

...Earle Williams 


1 .. 

....Apr. 29 .... 


Restless Souls 

..Earle Williams 

. . . June 

24 . 

....Tuly 22 .... 

... 5000 

A Guilty Conscience 





(Continued on following page) 


Scpteviber 9, 1922 


MOVING PICTURE WORLD 


143 


( Continued from preceding page ) 

Review 


Consensus Footage 


The Angel of Crooked 

Street 

The Silent Vow 

The Ladder Jinx 

Divorce Coupons 

The Girl in His Room Alice 

A Pair of Kings 

Golf 

A Girl’s Desire 


.Alice Calhoun 

, . . June 3 . 


.... 5270 

William Duncan.. 



. ... 4601 

Special 

..July 22 ... 



Corinne Griffith 

.. luly 1 .. 

...July 29 .... 

... 5249 

.Alice Calhoun 

..July 1 ... 

....July 22 ... 

.... 4523 

.Larry Semon 


.... 2000 

■ Larry Semon 



.... 200) 

Alice Calhoun 



... 4950 


GEOGRAPHIC FILM CO. 

Review 

The Garden of Gethsemane. Biblical Story May 13 ... 


Consensus 


PHIL GOLDSTONE 

Watch Him Step Richard Talmadge. . . May 13 

When East Comes West. . .Franklyn Farnum 

The Cub Reporter Richard Talmadge 

Smiling Jim Franklyn Farnum 

Deserted at the Altar Special 

Texas Franklyn Farnum 

Lucky Thirteen Richard Talmadge 

Wildcat Jordon Richard Talmadge 


Footage 
1000 


300* 

5000 

5000 

5000 


5000 

5000 

5000 


G. H. HAMILTON 

In Self Defense .May 6 

When Knights Were Bold 


MISCEL LA NEOU S 

J. STUART BLACKTON 

The Glorious Adventure Lady Diana Manners. May 6 May 20 7730 

M. J. BURNSIDE 

Yankee Doodle, Jr Mar. 18 Apr. 22 5000 

FEDERATED EXCHANGES n, . , T „ A a 

The Whirlwind Joe Rock 2003 Flesh and Spirit Apr. 15 5000 


The Man From Beyond. 


HOUDINI 

• Houdini Apr. 15 

LEE-BRADFORD 


.May 20 


4900 

5000 


6000 


Beware of Blondes Hallroom Boys Com., 


2000 


8000 


F. J. GODSOL 

Sherlock Holmes John Barrymore May 20 June 3 ., 

HARRY LEVEY 

Around the World With 

Burton Holmes May 6 11500 

PIONEER FILM CORP. 

Beyond the Crossroads Ora Carew Apr. 3 5000 

The Crimson Cross Margaret Beecher May 6 June 3 5000 

PRIZMA 

The Land of the Red Man Aug. 5 1000 

M. J. WINKLER 

Felix in the Swim Cartoon July 29 1000 


STATE RIGHTS 


IVAN ABRAMSON 

The Wildness of Youth All-Star Aug. 26 . 

ANCHOR FILM CORP. 


The Storm Girl Peggy O’Day Aug. 26 

The American Toreador Bill Patton Sept. 2 

AFFILIATED DISTRIBUTORS 

I Am the Law Curwood, Author May 27 July 15 

ARTCLASS PICTURES 

After Six Days Bible Pictures Apr. 1 


6800 


Expose of Sawing a Lady in 
Half 


CLARION PHOTOPLAYS 


1475 


The Hate Trail. 


2000 


6000 

5400 


6000 


T. R. COFFIN CO. 

Easy Pickin Comedy ;....Sept. 2 

EQUITY PICTURES 

The Worldly Madonna Clara K. Young Apr 15 Sent ? 

The Hardest Way Fannie Ward . ......July 29 P 

What s Wrong With the 

Women? Goodman Prod Aug. 12 

C. B. C. 

Life’s Greatest Question Roy Stewart AuT£ Ccm -" sus Footage 

Sunrise Comedies Billie West 

faP n Kidd Eddie Polo Serial V.V.V. 

More to Be Pitied Than 

Scorned Special July 29 

DI LORENZO, INC. 

The Trail of Hate Big Boy Williams. ... June 3 June 24 5000 


2000 


5800 


Squirrel Comedies 

AL LICHTMAN CORP. 

Rich Men’s Wives Gasnier Prod Sept. 2 

BERT LUBIN 

Partners of the Sunset Allene Ray Apr. 29 


2000 


6500 


495* 


O’CONOR PRODUCTIONS 

No Brains Billy Franey 2000 

Highly Polished Billy Franey 2000 

Piece in Pieces Billy Franey 2000 

Hot and Cold Billy Franey 2000 


PACIFIC FILM COMPANY 


The Able-Minded Lady Mar. 11 

The Forest King Mar. 25 


PRODUCERS SECURITY 


7000 


5000 

5000 


Welcome to Our City Maclyn Arbuckle Feb. 18 

Squire Phin Maclyn Arbuckle May 13 

The Country Flapper Dorothy Gish Aug. 12 

Trail of the Law Wilfred Lytell 

The Man Who Paid Wilfred Lytell 

Mr. Potter of Texas Maclyn Arburkle Aug. 5 . 

The Wolf’s Fangs Wilfred Lytell 

In the Night All-Star 

Irving Cummings Series Two-Reelers 


5000 

5000 


5000 

5000 


5000 

4400 

5000 

5000 

2000 


RIALTO PRODUCTIONS 

The Wolf Pack Apr. 15 5000 

Nine Seconds From Heaven. Danish Production July 8 .Aug. 12 5000 


RUSSELL PRODUCTIONS 

Bulldog Courage George Larkin Sept. 2 


4900 


10000 


SECOND NATIONAL 


AYWON FILM CORP. 

Across the Border Big Boy Williams. . .Apr. 1 Apr. 8 5000 

£" ent , Shelby Frank Borzage May 20 5000 

«ri?£ re rr°i? Anchor Prod May 27 5000 

White Hell Bartlett Prod May 27 6100 


Her Story Madge Tilheridge. . . . Mar. 4 5000 

The Night Riders Western Story Apr. 22 5750 


W. M. SMITH 

So This Is Arizona? Franklyn Farnum Apr. 22 

The Angel Citizen Franklyn Farnum ...Aug. 5 


5800 

4200 


SACRED FILMS, INC. 


CLARK CORNELIUS 

May 13 4588 


Abraham and Sarah Bible Picture. 

Abraham and Lot Bible Film 


• Mar. 11 1000 

Aug. 19 1000 


SANFORD PRODUCTIONS 


The Better Man Wins Pete Morrison. 

Tweedy Comedies 


5000 

2600 


WILLIAM STEINER 

The Heart of a Texan Neal' Hart Aug. 19 

West of the Pecos Neal Hart Aug. 19 


4600 

4300 


WARNER BROTHERS 


Your Best Friend Vera Gordon Apr. 

F. O. B. Africa Monty Banks Apr. 


1 June 24 

1 


2000 


WESTERN PICTURES EXPLOITATION CO. 


Hell Hounds of the West.. .Dick Hatton Apr. 1 5000 

The Man From Hell’s River Apr. 19 5000 

Ridin’ Wild Roy Stewart May 6 5000 

Four Hearts Dick Hatton May 13 5000 

According to Hoyle David Butler June 24 5000 

Bing, Bang, Boom David Butler July 22 5000 

Flesh and Blood Lon Chaney Aug. 19 5300 

The Sage Brush Trail Roy Stewart Sept. 2 4470 


144 


MOVING PICTURE 


WORLD 


September 9, 1922 


P RO J E CTION 

$2) F.H. RICHARDSON 



Fireproof Room 

From Indianapolis, Indiana, comes the ac- 
companying photograph of the projection 
room of the Apollo Theatre of that city. 
The sender says : 

Here is photograph of the projection room 
of the new Apollo theatre in Indianapolis. 
From the fire resisting standpoint the booth 
(you said projection room a moment ago. 
Ed.) is said to be the most modern and 
complete in the United States. The room 
was designed by Vonnegut, Miller & Bohn, 
Indianapolis, Indiana, architects, in col- 
laboration with the fire engineers of Stone, 
Stafford & Stone, an Indianapolis insurance 
concern. 

The booth which contains all latest im- 
provements as to construction and safety 
devices, as recommended by National Board 
of Fire Underwriters, is concrete through- 
out. It has one door only, leading up from 
the theatre proper. This door is of standard 
metal, which automatically closes by a chain 
and weight arrangement. 

The openings in front of the booth 
(“Booth,” a house or shed built of boards, 
boughs of trees, or other slight materials, 
for temporary occupation. Webster. Ed.) 
are protected by 3-16 inch solid steel plates, 
which automatically close in case of fire. 
Above each projection machine (Projector. 
Ed.), is a fusible link which, in case of fire, 
melts and causes the steel shutters to close 
all openings, thus cutting off the room (it’s 
a room again now, Ed.) from the theatre. 

At the side of each machine (projector. 
Ed.) is a hand extinguisher placed near the 
door of the room. All films when not in 
use are kept in approved metal cases in the 
booth (it’s a booth again. Ed.) 

Metal Rewind Table 

The table on which the rewinding of film 
is done is of metal. Fresh air is supplied 
the operator (projectionist is meant. Ed.) 




Notice to All 

P RESSURE on our columns Is such 
that published replies to questions 
cannot be guaranteed under two 
or three weeks. If quick action is 
desired remit four cents, stamps, and 
we will send carbon copy of depart- 
ment reply as soon as written. 

For special replies by mail on mat- 
ter which, for any reason, cannot be 
replied to through our department 
remit one dollar. 

THE LENS CHART 
Are You Working by "Guess” or Do 
You Employ Up-to-Dute Methods f 

You demand that your employer keep 
his equipment in good order and up to 
date. He owes it both to himself and 
to you to do so, but you owe it to him 
to keep abreast with the times in 
knowledge and in your methods. 

The lens chart (two in one, 11x17 
inches, on heavy paper for framing) 
is in successful use by hundreds of 
progressive projectionists. 

“Don’t guess.” Do your work 
RIGHT. Price, fifty cents, stamps. 

Address Moving Picture World, 
either 616 Fifth Avenue, New York 
City, or 28 East Jackson Boulevard, 
Chicago, 111. 


from a 10-inch electric fan, which brings the 
air through a specially constructed stack 
through the roof of the theatre, insuring a 
current of cool air throughout the booth at 
all times. 

There is not a piece of wood in the booth. 
The machines (projectors. Ed.) are Sim- 
plex, Type S. They are equipped with Peer- 
less arc controllers. 


Free Criticism 

I shall freely criticise this room, and not 
only offer space for the refuting of my 
criticism, but invite its use by those claim- 
ing the room to be a model, by the theatre 
management, by the projectionist, by the 
National Board of Fire Underwriters or by 
any one else. That is fair enough, is it not? 

In the first place, the describer says, it 
is “fire resisting.” The walls, and pre- 
sumably the ceiling, too (though it is not 
so stated), being of concrete, we may as- 
sume that if the ceiling be properly sup- 
ported, as it doubtless is, the statement is 
evenly and exactly correct. The room is 
“fire resisting,” but once we pass that fact, 
the builders of this room and I reach a part- 
ing of the ways and I am not in any degree 
influenced by whether the N. B. of F. 
Underwriters sanction the things we see in 
this room or not. 

First and foremost, that “ten inch fan” 
would condemn the installation if nothing 
else were wrong, and when we consider 
that it is presumed — I doubt it, but it is so 
set forth — to pump air INTO this room it is 
all the worse, unless it pumps it into the 
room near the floor line, and there is a very 
much larger fan to suck it out through the 
ceiling. And even this would be unsafe 
unless there be TWO exhaust fans, one of 
which is kept CONSTANTLY RUNNING 
DURING THE TIME PICTURES ARE 
BEING PROJECTED — unsafe because if 
there be but a single fan it might be out of 
order at the time a fire occurred. 

The Port Shutters 

And now let us examine those port 
shutters and their means of suspension, 
concerning which there is very evident 
pride. Firstly, the lens port has not been 
reduced to the actual size of the effective 
beam, so that all the halo light is passing 
through, reaching the screen and injuring 
the definition of the picture. This, of 
course, has nothing to do with “fireproof,” 
and is entirely the fault of the projectionist 
himself. 

Examine the projection circuit outlet loca- 
tion. How many of you would approve of 
them, though this, too, has nothing to do 
with fireproofing. Next examine the master 
cord fuses. NOTICE THEIR LOCATION! 
Note that there are METAL FUSES ONLY, 
located at least two feet from seat of fire. 
MENTALLY ESTIMATE THE PROBA- 
BLE TIME, IN SECONDS. BEFORE 
THOSE FUSES WOULD MELT. Do you 
see an)^ evidence that there is a fuse over 
and NEAR the rewinder? 

Let us visualize a fire in that room, which 
we all hope will never occur. It starts at 
the projector aperture. WHAT HAP- 
PENS? 

Why just about this: The show stops. 

There probably has been a smudge on the 
screen, and maybe even a photograph of 
the blaze was projected. It is a matter of 
fractions of a SECOND NOW TO AVERT 
A STAMPEDE, AND THOSE FUSES 
WON’T GO FOR FIVE OR SIX SECONDS 
AT THE VERY LEAST-maybe a much 
longer time. The attention of the audience 
has been directed directly to the projection 
room. 

If only the stoppage of the show has been 
apparent there nevertheless will be those 
who will turn and look. THOSE SHUT- 
TERS MUST DROP WITHIN ONE OR 
TWO SECONDS OF THE START OF 



PROJECTION ROOM 
Of the Apo.lo Theatre, Indianapolis 


September 9, 1922 


MOVING PICTURE WORLD 


145 


THE BLAZE IF THERE IS TO BE CER- 
TAINTY OF AVERTING A PANIC. Once 
let Mr. or Mrs. Solid Ivory Top get a 
glimpse of smoke at or through a port and 
it’s all off. “FIRE” they scream and sprint 
down an aisle, and they and the rest of the 
S. I. Top family pile up in a heap. 

What Constitutes Protection 

Fire resisting walls alone do not, there- 
fore, constitute protection for an audience. 
Also fire resisting walls plus quick dropping 
shutters do not either. What is needed to 
protect an audience adequately are three 
(3) elements, viz: (a) Fire resisting walls, 

(b) Port shutters which will drop auto- 
matically (because we may not depend with 
certainty on the projectionist to drop the 
port shutters manually. He is, I am sorry 
to say, very often at some distance removed 
from the projector and might not even 
know of the fire within from one to four 
or five seconds) within not to exceed two 
(2) seconds of the start of a fire, (c) An 
exhaust fan running, of sufficient size, to 
pump out all the smoke and gases gen- 
erated fast enough to suck air in around 
the crevices surrounding the port shutters 
and door. This fan must not be directly 
in the exhaust pipe, but removed therefrom 
so as to be thoroughly protected from the 
heat of the fire, operating the exhaust on 
the injector principle. The whole point is 
to prevent Mr. or Mrs. Solid Ivory Top 
seeing any fire or smoke at all. 

The quick dropping of port shutters, auto- 
matically, may ONLY be secured by in- 
stalling FILM fuses where the fire will 
strike them instantly it starts, with metal 
fuses, if desired, elsewhere. Projector 
manufacturers could serve the industry a 
good turn by devising a film fuse which 
would enter the upper magazine at the fire 
trap, the master cord of the port shutters 
to be attached thereto. It is practical and 
can be done, and done cheaply and effi- 
ciently. There should also be a film fuse 
immediately over the rewinding table, and 
not more than one foot above the rewinder; 
also one over the film cabinet and every 
other probable seat of fire, all in one master 
cord, of course. 

No Harm in Wooden Table 

The absence of wood in a projection room 
(tables, etc., I mean) amounts to nothing in 
safety to the audience. Wooden shelves 
and tables do no harm at all, especially if 
soaked in fireproofing solution, because 
by the time wood would begin to burn the 
audience would either be out of the theatre 
or damaged all it could be. A projection 
room fire in itself injures no one outside 
its walls. All danger comes from the 
PANIC. 

The National Board of Fire Underwrit- 
ers is a most estimable and able institu- 
tion, BUT it approves of some things in 
connection with projection rooms which 
show it has things yet to learn about fires 
in projection rooms, and what constitutes 
the danger therefrom, and its disapproval 
of a wooden table or shelf, therein, when 
the room walls, etc., are fireproof, verges 
on nonsensical. If any Underwriter offi- 
cial, or any one else, can point out wherein 
a wooden rewinding table or shelf adds ap- 
preciably to the fire danger in a modern 
projection room I will most humbly apolo- 
gize and retract my statement to the con- 
trary. 

Don’t Get Peeved 

Now, gentlemen, of Indianapolis, don’t get 
peeved or excited. The Apollo projection 
room is a very good one AS SUCH ROOMS 
GO. What I object to is the assumption 
that it is a model, when so many of its 
provisions are very far from being that. 
IF YOU CAN SHOW THAT I AM IN 
ANY- DEGREE WRONG I WILL BE 
GLAD TO PUBLISH THAT FACT, be- 
cause if I am wrong no one wishes to 
know that fact sooner than I. However, 
you will have to SHOW ME. 


SPECIAL 

Get an autographed copy 
of Richardson’s new fourth 
edition 

HANDBOOK of 
PROJECTION 

by sending in your order 
direct to this company be- 
fore September 30, 1922. 

Copies ordered after that 
date will not be auto- 
graphed. 


Price $6.00 post paid 


Chalmers Publishing 
Company 

516 FIFTH AVENUE 
NEW YORKiCITY 


Successful 

A projectionist located in the Green 
Mountains, which rear their heads around 
the old Richardson homestead, long since 
deserted by the Richardson tribe which 
stopped grubbing a living from the rock 
ribbed hills and moved to the golden wesi, 
writes : 

Have been successful, through the aid of 
the handbook and projection department, I 
am moved to ask you to inform me as to 
what I must know in order to obtain a 
Massachusetts license. On October 15 I will 
have had eight years’ experience in project- 
ing motion pictures, using two projectors. 

Five of those years was with Powers Six 
As and three — the last three — with Simplex, 
three to four shows a week. Have never had 
a breakdown and have never had anything 
but 110 volt, 600 cycle “juice.” 

Many times have had to “get by” an en- 
tire show with 60 to 65 volts, and that I 
have been able to do these things is entirely 
due to the department and the handbook. 

I now have a chance for something better. 
I feel that I have made good here as summer 
visitors from New York City come to the 
show night after night and go away saying 
“it is fine.” I want to make good in the 
next place, which will be a Massachusetts 
theatre seating 1,200, with up-to-date equip- 
ment; but I must have a license. 

Can you tell me at least some of the 
questions I will be confronted with: also 
where I must apply for license? Also would 
I be obliged to join a union? When can I 
get the latest handbook? 

Examination Weak 

In the matter of the Massachusetts ex- 
amination I can offer you no direct help. 
The examiner who is worth the powder it 
would take to blow him up seeks only to 
find out what you do and do not know. 
Naturally he would, unless he be a nin- 
compoop entirely (and Massachusetts ex- 
aminers are not of that variety, though I 
hold the Massachusetts examination too 


lamentably weak in some respects), the 
examiner will first of all inquire as to 
what experience you have had, and what 
effort you have made to equip yourself with 
knowledge. He will then most likely ex- 
amine into your knowledge of electrical 
action ; the action of 3-wire circuits ; 
grounds and ability to test for same; your 
knowledge of fuses and your knowledge 
of the equipment with which you are likely 
to be placed in charge, which will include 
transformers, switches, motor generators, 
etc. 

Works This Way 

It usually works about this way : First 

an examiner finds the applicant has had 
actual experience. He then asks a ques- 
tion, for instance, to test the applicant’s 
knowledge of electrical action and gets an 
unhesitating, competent reply which shows 
the applicant really knows what he is 
talking about. He asks another question 
or two and receives prompt, competent 
answers, whereupon he concludes the ap- 
plicant really understands electrical action 
at least fairly well. 

He then asks, for instance : “Describe 

the construction and electrical action of a 
transformer.” The reply is, we will assume 
prompt, unhesitating and fairly complete 
because no further questions are asked on 
that subject because the reply indicates 
that the man has actual knowledge of 
transformer action. But suppose the re- 
ply is, on the contrary, hesitating and in- 
complete. There then is doubt. The 
hesitancy and incompleteness may be due 
merely to difficulty the applicant has in 
expressing his ideas, or may be due to 
nervousness. The examiner, therefore, 
asks other questions — maybe a lot of them 
— to find out exactly what the man really 
does know about transformers. 

And Thus It Goes 

And thus it goes all through the exami- 
nation. You will therefore see why I can- 
not help you, except by telling you some of 
the' PROBABLE points you will be exam- 
ined on. You may, or may not be ex- 
amined on projection optics. You will 
doubtless be asked to thread a projector, 
and may be required to project a picture. 
You will almost certainly be asked to make 
the necessary electrical connections and get 
a light. To find out when and where you 
can make application and be examined, ad- 
dress the Department of State Police, 
State'house, Boston, Mass-., telling them 
what city you propose to work in. You 
must be licensed. Whether you will have 
to join a union or not will depend upon 
whether the city you work in is organized 
or not — the projectionists therein, I mean. 
If it is, then you may have trouble, as the 
union cannot be compelled to accept you 
into membership, no matter how competent 
you may be, and most likely will not do so 
if any of their members are out of work. 

The new handbook will be out by the 
time this is printed, so send in six dollars 
at once. It is as much in advance of the 
Third Edition, which you have, as the mod- 
ern projector is ahead of those used fifteen 
years ago — and that is no “bluff” or idle 
words either 1 


Engineers Meeting 

The Society of Motion Picture Engineers 
will hold its fall meeting, October 9, 10 and 
11, in the Power’s Hotel, Rochester, New 
York. Committees are already at work pre- 
paring an elaborate and excellent program. 

It is expected that the research depart- 
ment of the Eastman Company will give 
demonstrations which will be of great in- 
terest, though this is at this time pure spec- 
ulation, the company having made no public 
announcement of anything of the sort. 


146 


WORLD 


September 9, 1922 


MOVING PICTURE 


(Conducted b$ E.T. K.EY S ER 







Many and Magnificent Features 
Mark the New Eastman Theatre 


T HE opening of the Eastman Theatre, 
George Eastman's gift to the City of 
Rochester, on Labor Day, will mark 
an important date in motion picture theatre 
history. 

The theatre has a frontage on Gibbs 
street and Main street east of 250 feet. 
The rear of the building, on Swan street, is 
120 feet. Its depth, from Gibbs street to 
Swan street, is 180 feet, and its height, 80 
feet. 

The design of the exterior is a simple and 
dignified adaptation of the Italian renais- 
sance and the material, Indiana limestone. 
The lower story is of heavy rusticated 
masonry, above which is the main wall with 
spaces divided by Ionic pilasters, surmonted 
with a simple classic cornice. Above this 
cornice is a low wall or attic, crowned with 
a metal crestage. The roof is covered with 
Spanish tile, variegated red in color and 
slopes to the parapet coping. At the en- 
trance at the corner of Main street east 
and Gibbs street, the wall is set back and 
great Ionic columns take the place of the 
pilasters. These columns are of richly 
veined Brocodilo marble. The center 
feature of the roof is topped off with a 
flagstaff, surmounted by a four-foot bronze 
casting of an eagle in silhouette. 

Quoins At All Corners 
The walls of the Swan street facade are 
of buff brick, with limestone quoins at all 
corners, limestone trimmings in general, 
and are surmounted by a limestone cornice 
and parapet coping. 

There are three distinct main sections in 
the theatre : 

First, the portion to which the public is 
admitted and will occupy during perfor- 
mances, namely, the main auditorium, 
mezzanine gallery and main balcony; and 
the portion to which the public will have 
access, such as the main lobby, mezzanine 
and balcony foyers, rest rooms, retiring 
rooms, check rooms and executive offices. 

Second, the stage section and all trap and 
working spaces, such as fly galleries and 
gridirons, the dressing-room section and the 
immense space occupied by the eight cham- 
bers of the great organ. 

Third, the spaces in the attic and base- 
ment given over entirely to the heating and 
ventilating system. 

Many Minor Sections 

There are three minor sections, namely : 
First, the service- departments and work- 
rooms which include the front part of the 
basement occupied by the operating staff. 

Second, on the sixth floor is a studio, 
equipped with complete projection machines, 
screen and organ, which will be devoted to 
the teaching of musical accompaniment of 
motion pictures. This studio is 25x40 feet 
in size. . 

Third, the library for sheet music used by 
the orchestra, the musicians’ rest room and 
the large tuning room for the orchestra. 
These are housed in the basement of the 
east wing of the School of Music Building. 


The library is said to be the largest and most 
complete of its kind in the country, requir- 
ing the services of a staff of five to arrange 
and keep the scores available for the use 
of the orchestra when called for. 

Auditorium 140 Feet Wide 
The main auditorium is 140 feet wide at 
its widest point and 135 feet deep from the 
exit vestibule to the proscenium arch. The 
seats are divided by four main aisles, two 
side aisles and three cross aisles. The main 



GEORGE EASTMAN 
The Donor of the Theatre 


aisles are three feet wide at the stage and 
five feet at the rear; the side aisles two and 
one-half feet wide. Two of the cross aisles 
are five feet wide and the foyer at the rear, 
10 feet wide at its narrowest point and 18 
feet at the exit doors. 

There are numerous exits from the main 
auditorium opening into the north and 
south exit courts and into the exit vestibule 
on Gibbs street. The Gibbs street exit 
vestibule is 12 feet wide and 90 feet in 
length, and has nine pairs of doors opening 
into Gibbs street. It is constructed of 
marble base, wainscoting, pilasters and 
floor, with an ornamented ceiling. Off this 
vestibule is a small checkroom used chiefly 
for motion picture performances. Adjoin- 
ing the checkroom and opening off the 
lobby is the house manager’s office and the 
entrance to the elevator. 

In the rear of the auditorium on • the 
north side is a retiring room for women, 
equipped with mirrors, dressing and writing 
tables and complete furnishings. 

Five Staircases 

From the rear of the main auditorium 
five main staircases lead to the mezzanine 
and balcony foyers. The mezzanine foyer, 


12 feet wide, and extending across the en- 
tire width of the building, is separated 
from the mezzanine gallery by a colonnade 
of 10 marble columns. In the center of the 
foyer is an alcove, 12x25 feet, for use as a 
lounging and smoking room. The floors of 
both foyer and alcove are of marble, with 
marble wainscotting, pilasters and trim. 
The furnishings of the foyer include seat- 
ing accommodations for forty-five, with 
smoking stands, affording a place for that 
number of persons to sit and smoke while 
watching the pictures. 

The mezzanine gallery, directly in front 
of the foyer, has a seating capacity of 360. 
It is suspended about 12 feet above the main 
auditorium, but because of its shallow depth 
does not interfere in any way with the line 
of vision from the last row of seats on the 
main floor. The distance from the rail of 
the gallery to the stage is 90 feet. 

Large Check Room 

Directly off the southwest end of the 
mezzanine foyer is a large check room 
which will be used chiefly on concert nights. 
North of the alcove is located a retiring 

f oom and lavatory for women, equipped 
nd furnished similarly to that on the main 
floor. South of the alcove is a lavatory for 
men. On the extreme northwest end is a 
stair hall, 25x50 feet, from which staircases 
lead to the main floor below and the bal- 
cony above. Directly to the north and 
west of the stair hall is located the section 
given over to the public offices, general 
manager, publicity, etc., together with lava- 
tories and retiring rooms for the office staff. 

Another foyer, 21 feet wide and 175 feet 
long, is located between the mezzanine 
gallery and main balcony. This is decorated 
similar to the foyer below, having marble 
floor, wainscoting and pilasters, with a 
vaulted and groined ceiling. On the east 
side of this foyer are two hallways leading 
to the main balcony. Between these is 
located another large checkroom, to be used 
for concerts. Opening off the center of this 
foyer, directly opposite the check room, is a 
hospital room for use in emergency cases. 
Opening off the northwest end of the foyer 
is a men’s smoking room and a women’s 
retiring room, together with lavatories 
opening off both rooms. 

Screening Room 

Above the balcony foyer and under the 
upper part of the main balcony are located 
the offices of the orchestra conductor and 
his assistants, scorers, etc. Also on this 
floor is located a small projection room and 
workrooms. This projection room, equipped 
with two Simplex Mazda projectors, is 
26x26 feet in size, for the viewing and 
selection of the films for the theatre. Here 
is where the orchestra conductor and 
general manager select the various musical 
compositions for the accompaniment and 
interpretation of the pictures shown on the 
theatre screen. 

The grand balcony, which is directly over 
the balcony foyer and also overhangs and 


September 9, 1922 


MOVING PICTURE WORLD 


147 


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HAVE YOU PROJECTION TROUBLE? 

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But it requires knowledge and experience to 
insure good projection from the very first show. 

We are projection engineers with a long list 
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We are tied up with no particular line of 
equipment and are free to advise that best 
adapted to each individually arranged house. 

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We do not cost you money. We save it. 

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projects beyond the mezzanine gallery, has 
a seating capacity of 1,116. Its level at the 
rail is 30 feet above the auditorium floor 
and the distance from the rail to the stage 
is 80 feet. At either end of the rear of the 
balcony is a six-foot fire stair leading 
directly to the street and also to the roof. 
This staircase is in addition to the stair- 
cases, hallways, etc., already described. 

To the rear of the main balcony is a 
telephone room in which are located tele- 
phone switchboards and other apparatus 
controlling telephones in both the theatre 
and the School of Music. 

Above the main balcony is a floor given 
over to the main projection room, rewind 
room, poster artist’s studio, art director’s 
offices and the studio, 20x30 feet, for the 
teaching of musical accompaniment of 
motion pictures. The main projection room 
is equippe'd with three motor-driven Sim- 
plexes with Simplex Sun-Light high inten- 
sity lamps, and Bausch & Lomb lenses ; 
also two Simplex spotlights and color 
diffusers. The studio is equipped with a 
separate projection booth, screen and a 
specially designed organ. 

To the north of the poster artist’s offices 
is located a steel *and concrete fireproof 
vault in which will be stored all film not in 
actual use. 

Staircases Are of Marble 

The various main staircases leading to 
the mezzanine and balcony foyers are of 
marble, with side walls of Silverdale stone. 
On the large landings of these staircases 
will be exhibited paintings of well-known 
artists, and these will be changed from time 
to time as are the paintings in the main 
corridors of the School of Music. 

There is a beautiful elliptical staircase 
leading from the southeast corner of the 
auditorium, giving access to the mezzanine 
and balcony foyers and to the first and 
second main corridors of the School of 
Music. This staircase will be used chiefly 
by subscribers having seats in the mez- 
zanine gallery for concerts. This staircase 
is constructed entirely of marble, with walls 
of Silverdale stone, and has a domed ceil- 
ing. There is a separate entrance opening 
into this staircase from Gibbs street. From 


the main floor of the auditorium there are 
two special staircases opening On to bridges 
across the south exit court which gives 
access to the main corridors of the School 
of Music, which will be used as promenades 
between numbers of concert programs. 
At the Swan street end of the first floor 
corridor are two marble columns sur- 
mounted by an arch, under which is the 
grand staircase of marble and bronze lead- 
ing to the corridor on the second floor. 

On the fifth floor of the dressing room 
section is a room given over to pumps and 
motors connected with the heating and ven- 
tilating apparatus. 

The sixth floor is given over entirely to 
the large heating and ventilating plant. 

The seventh floor is devoted chiefly to the 
automatic sprinkler system. Here are 
located the two 6,000-gallon storage and 
pressure tanks for the sprinkler system, 
together with their auxiliary motor to sup- 
ply power for the large fan of the heating 
apparatus on the floor below. 

Attic Over Auditorium 

There is an attic over the entire main 
auditorium which has a height of 20 feet 
from the ceiling of the auditorium to the 
center of the roof trusses. This is filled 
with a maze of heating and ventilating pipes 
and ducts and electrical lines. Here also 
are located the spotlights which play from 
trap doors in the ceiling of the auditorium 
to the stage and also to the eight mural 
panels on the north and south walls of the 
auditorium. In the center of the attic is 
located the echo organ chamber of the 
theatre organ. 

Access to all pipes and valves in the attic 
is made easy by numerous steel runways 
suspended from the roof trusses. These 
runways enable the engineering force to 
thread their way to any point in the attic 
for necessary repair work. 

The attic space is also used as a ven- 
tilating chamber for the auditorium, the 
ventillation being accomplished by grilles 
and perforations in the ornamentation of 
the auditorium ceiling. 

Located on the main auditorium roof is a 
large pent house which houses two ven- 
tilating fans, motors and controlling devices 



THE EASTMAN THEATRE AND SCHOOL OF MUSIC 
George Eastman’s Princely Gift to the City of Rochester 







148 


MOVING PICTURE WORLD 


September 9, 1922 



SPECIAL 

ROLL 

TICKETS 


Y*ur own special Ticket, 
anj colon, accurately num- 
bered; every nil guaranteed. 
Ceopea Tickets ftr Prise 
Drawinri: $5.00, $6.00. 

Prompt shipment*. Cash 
with the order. Get the 
mples. Send diagram fer Referred 
Seat Coupon Ticket*, serial er dated. 
All tickets must conform to Gorern- 
ment regulation and bear established 
price of admission and tax paid. 

SPECIAL TICKET PRICES 

Five Thousand $3.00 

Ten Thousand 5.00 

Fifteen Thousand 6.50 

Twenty-five Thousand 9.00 

Fifty Thousand 12JJ0 

One Hundred Thousand. .. .IS. 00 

National Ticket Co. shamokin, p a . 


“THE BIOSCOPE” 

The Representative Weekly Journal of 
the British Film Industry 

Of Special Interest to All Who Buy or Sell Film 
OFFICES: 

85, SHAFTESBURY AVENUE 
LONDON, W. L 

Specimen Copy Free on Bequest 
F«rel_gn Subscript! enj : One pound ten shillings ( geld) 


Why Experiment with Poor Work? 

Why Pay Exorbitant Prices? 

Get in Touch with the 

Standard Motion Picture Company 

1005-1006 Mallert Bldg. Phone Central 2347 Chicago, III. 
Developing — Printing. Special Title Work 

Cheapest by far with Satisfaction Guaranteed 


TITLES 

FOR ALL PURPOSES— ANY LANGUAGE 
10 Year* Specializing In This Product 
Assure* You *f the 

BEST 

Moderate Prieee Quick Service 

PREMIER TITLE COMPANY 
556-356 EAST 33D STREET CHICAGO 


THEATRE SPECIALISTS 

Dealgaen of Over 200 Theatree 

C. HOWARD CRANE 

ARCHITECT 

ELMER 6E0RGE KIEHLER, A collate 
CYRIL E. SCHLEY 

Mall Office : HURON BLOG.. DETROIT. MICH. 
Bruch Offices ; Nee Y.rA, Chlcage, Wlalaw, OaL 


for ventilating the attic space. Easy access 
from one roof level to another is accom- 
plished by a series of steel ladders and 
stairs. 

In the portion of the basement accessible 
to the public are located the main lavatories. 
There is one main lavatory for men in the 
southwest section, connected with a large 
smoking room, and one for women in the 
northwest section, connected with an ante- 
room and also with the women’s retiring 
room on the main floor. The remainder of 
the public space in the basement is taken 
up by two large check rooms, tw r o large 
halls from which two staircases, each eight 
feet W'ide, lead to the rear of the main audi- 
torium. The women’s anteroom is fur- 
nished with dressing tables and conven- 
iences similar to those in the retiring room 
on the main floor. The smoking room has 
a tile floor and a fireplace. 

Basement Given to Service 

The remainder of the front part of the 
basement is given over to the service de- 
partment which includes separate rest 
rooms and lavatories for girl ushers, clean- 
ing women, male ushers, porters and head 
usher. Incorporated in the rest rooms are 
lockers and showers. In addition there is 
a storeroom for general supplies, one for 
uniforms and a fireproof vault for tickets, 
stationery, and also washrooms for the 
janitor, house electrician, carpenter and 
painter. 

In the rear of the basement are separate 
lockers and lavatories, including showers, 
for the musicians and stage hands; and 
three motor rooms, one for the organ 
blower, one for the air compressor which 
maintains the pressure for the thermostatic 
control, and one for the trunk lift machin- 
ery. Here also, is an electric shop for the 
stage electrician, and directly under the 
center of the stage is the trap space, which 
is specially constructed to permit the re- 
moval of any portion of the stage over it. 

From the southeast corner of the base- 
ment one has access to the main tunnel 
and all branch tunnels under the theatre. 
Also from this section of the basement is 
a door leading to the east wing of the 
School of Music basement, in which is 
located the theatre musicians’ rest room, 
the large tuning room and the sheet music 
library. 

Under the south court is the main tunnel 
which connects the boiler house on Swan 
street with both the theatre and School of 
Music buildings by -use of side tunnels, 
trenches, etc. This main tunnel is from 

10 to 25 feet in width, 175 feet in length and 

11 feet high. In this tunnel is run all the 
power, steam and water mains and various 
other piping. It also houses a considerable 
amount of equipment, including the vacuum 
cleaning machines, auxiliary blower and 
motor for the theatre organ, pressure 
pumps which maintain pressure on the auto- 


matic sprinkler system, toilet room vent 
fans, vent fans for the local venting sys- 
tem, sump pumps, etc. From this tunnel 
numerous branch tunnels lead into both the 
theatre and School of Music. From this 
tunnel two large pipe shafts lead to the 
heating apparatus in both the theatre and 
School of Music. 

Kansas City Planning 
a Negro Picture House 

A new picture theatre for negroes is being 
financed by a group of colored business and 
professional men of Greater Kansas City. 

The new theatre, which will be known as 
the Washington, has been designed by Vic- 
tor De Foe and will ^cost approximately 
$350,000. 

The location chosen is at the corner of 
the Paseo and the Parade and extends to 
Vine street, covering half a block. 

The architecture will be of modified 
Spanish mission, with a main tower. The 
building will be two stories high, accommo- 
dating sixteen shops on the main floor and 
twenty-two offices on the second. 

In addition to the theatre proper, which 
will have a seating capacity of 2,000, and a 
stage thirty' by thirtj’-six feet, there rvill 
also be a roof garden with two pergolas, a 
basement club and grill room and a swim- 
ming pool. 

Construction on the building will, it is 
stated, commence in about thirty days. 


New Concerns 

Two new motion picture concerns, with an 
aggregate capital of $250,000, has just re- 
ceived charters at the office of the Massa- 
chusetts secretary of state. Both are to be 
located in Boston. They are as follows: 

Franklin Film Company, capital, $50,000. 
Incorporators Charles H. Cleaves, Rock- 
port; Frederick W. McCarter. Brookline; 
William C. Hutch, Marlboro. 

Morton Theatrical Amusement Company, 
capital $200,000. Incorporators Samuel Si- 
mons, Max Risman and Celia Epstein, all 
of Boston. 


Vallen Moves 

The E. J. Vallen Electrical Company, of 
Akron, manufacturers of the Vallen auto- 
matic curtain machine, have moved into 
their new quarters at thirteen South Canal 
street. 

The move was forced upon the Vallen 
Company by the necessity for securing in- 
creased facilities to meet the growing de- 
mand for their apparatus, which has been 
finding so much favor among the better 
class of houses. 



LUDWIG G.B.ERB 

PRESIDENT 


TRADE MARK REG U S. PAT OFF. 


MOTION PICTURE 
DEVELOPING AN D 
PRINTIN G 

TELEPHONE AUDUBON 3716 

to 211 W. I46T? St., New York City 


LABORATORIES AND STUDIO 


September 9, 1922 


MOVING PICTURE WORLD 


(149 


B. F. PORTER TAKES OVER BIG CENTER 

Will Have Largest and Finest Motion Picture Trade Center, Equipment Supply House, 

Public Projection Room, Service and Emer gency Station, in the World. Best Experts 
for Repairing Machines and Generators. Prompt Service for Theatre Troubles. 

B. F. PORTER, ENTIRE SECOND FLOOR, 729 SEVENTH AVE., AT 49th ST., NEW YORK 


THE CINEMA 

NEWS AND PROPERTY GAZETTE 

80-82 Wardour St. 

W. I. London, England 

Has the largest certified circulation of the 
trade in Great Britain and the Dominions. All 
Official Notices and News from the ASSO- 
CIATION to its members are published ex- 
clusively in this Journal. 

YEARLY RATE: 

POSTPAID, WEEKLY, $7.25 
SAMPLE COPY AND 
ADVERTISING RATES ON REQUEST 

Appointed by Agreement Dated 7/8/14 
THE OFFICIAL ORGAN OF 

THE CINEMATOGRAPH EXHIBITORS’ ASSOCIA. 
TION OF GREAT BRITAIN and IRELAND, LTD. 


MAILING LISTS 

MOVING PICTURE AND 
LEGITIMATE THEATRES 

22166 Moving Picture by States per M.. $5.00, 

1219 Film Exchanges, for List 7 .50 

196 Manufacturers and Studios 3.50 

419 Machine and Supply Dealers 4.00 

3674 Legitimate Theatres U. S. & Can. 25.00 
810 Vaudeville Theatres 7.50 

A. F. WILLIAMS 

166 W. ADAMS ST. CHICAGO 


LA CINEMATOGRAFIA 
ITALIAN A ED ESTERA 

Official Organ of the Italian Cinematograph Union 

Published on the 
15th and 30th of Each Month 

Foreign Subscription: $7.00 or 85 francs per Annum 
Editorial and Business Offices: 

Via Cumiana, 31, Turin, Italy 


Moving Picture Machines 

Complete Equipments — Supplies of All Kinds 
Exhibitors’ Best Friend 

CUT RATE PRICES 
Monarch Theatre Supply Co. 

228 Union Avenue 724 So. Wabash Ave. 

Memphis, Term. Chicago, 111. 

YOU CAN BANK 

On Any Equipment Advertised in 

The Moving Picture World 

Being Mighty Good Equipment 


A New Theatre to Be 
Built in Endicott, N. Y. 

A certificate of incorporation of the 
Endicott Theatre Corporation, Inc., has 
been filed in the county clerk’s office in 
Binghamton, N. Y. Ned Kornblite, David 
Cohen and Fred J. Gillen, all of Bingham- 
ton, are named as the directors. 

The certificate says the company has been 
formed to purchase, lease, hold and man- 
age theatres, opera houses, moving picture 
houses and similar places of amusement. 
The amount of the capital stock is given as 
$80,000. The company will build a new 
theatre in Endicott, N. Y. 

Mrs . Rappaport Sells 
the Crescent Palace 

Mrs. Jennie Rappaport has sold the Cres- 
cent Palace Theatre at 3265 Dundas Street 
West Toronto, to Bernard Press for $38,- 
000. This theatre, which has long been suc- 
cessfully operated in the Northwestern 
section of the city, is of solid brick and 
stone construction with a frontage of 30 
feet and a depth of 137J4 feet. 


Houses Re-opening 

The Palace Theatre at Oklahoma City 
will reopen August 27, with pictures and 
musical comedy as the attractions. 

The Orpheum of the same city, will re- 
open September 16, with pictures and high 
grade vaudeville as the policy. 

Both theatres have been dark all sum- 
mer. 


Northwestern Notes 

The Hospital ship “Mercy,” part of the 
Pacific Fleet, which spent most of the sum- 
mer in Puget Sound waters, left for the 
South with a Power projector equipped 
with the new roller pin intermittent move- 
ment. 

* * * 

B. N. and R. M. Barnett are scheduled 
for a September 20th opening of their new 
house in Grand View, Wash. The entire 
equipment including late model Power 
projectors with roller pin intermittent 
movement and governor speed controls, has 
been supplied by the Theatre Equipment 
Co., distributors for Power Projectors, for 
the Northwest territory. 

* * * 

A. H. MacDonald, of Eugene, Oregon, is 
remodeling his Castle Theatre. He has let 
contracts to B. F. Shearer, Inc., Northwest 
distributors for Simplex Projectors. 



FOR LEASE 

NEW, MODERN THEATRE IN TOWN 
OF 3,560; FULLY EQUIPPED FOR PIC- 
TURES AND ROAD SHOWS. NO OP- 
POSITION. PLANT COST $35,000 AND 
SEATS 550. LONG LEASE AND LIB- 
ERAL TERMS TO ACCEPTABLE 
PARTY. LOCATION, SOUTHEAST VIR- 
GINIA. 

Address 

Suffolk Amusement Corp. 

SUFFOLK, VIRGINIA 


THEATRES WANTED 

WANTED — To lease modern theatres seating 

1.000 or more — for term of years in towns of 

15.000 to 50,000 population in New York, New 
Jersey, Pennsylvania, or New England by 
experienced and financially responsible parties. 
Address, with full particulars in detail, Non- 
Payable Theatres Preferred, Box 276, care of 
Moving Picture World, New York City. 



SITUATIONS WANTED 

EXPERIENCED MUSICAL DIRECTOR (Vio- 
limst) wants position. Union. Competent, re- 
liable. Large library. Expert picture cueing. 
Stage Prologues. A1 references. Prefer first-class 
motion picture theatre, in live city. Box 275, care 
Moving Picture World, New York City. 

AT LIBERTY — Orchestra leader, for Septem- 
ber. Competent, reliable; expert picture scoring; 
staging prologues ; original ideas ; pleasant per- 
sonality. Own large library. Only exclusive 
theatres considered. Address A. C. F., care Mov- 
ing Picture World, New York City. 

ORGANIST of exceptional ability and ex- 
perience desires engagement in first-class thea- 
tre Expert picture player, recitalist and con- 
cert pertormer. Familiar with all makes, large 
instrument preferred. Splendid library all 
classes of music. Union. Wire or write Arthur 
Edward Jones, Box 191, Portsmouth, Virginia. 

NOTICE TO FILM EXCHANGES: I want to 
get m touch with film exchange requiring man- 
ager branch manager or salesman. Know the 
film business. Have office and selling experience. 
Address P. O. Box 605, Pittsburgh, Pa. 


No Exhibitor 

Feels Really Certain Regarding the 
Merits of Films or Equipment Unless 
He Sees Them Advertised in 

The Moving Picture World 

He KNOWS 

That Only Reliable Concerns Can Gain 
Admission to the Columns of the 
MOVING PICTURE WORLD 


150 


MOVING PICTURE WORLD 


September 9, 1922 



You Can’t Buy Better Pictures 

But You Can Make Pictures Better 


E VERY theatre owner has an opportunity to buy the “big 
pictures.” You can’t beat your competitors by buying better 
pictures, but you can beat them by making pictures better. 

The new Mov-Ezy, the chair that means “Ease at the Movies,” 
makes this possible. It eliminates the interruptions occasioned by 
people passing along the rows while the picture is being shown. No 
longer is the story spoiled at its climax by spectators rising to 
cramped positions to permit others to pass. A quarter turn of the 
Mov-Ezy affords ample passage space, thus enabling every one 
to remain seated. 


Means Ease at the Movies 


Movie patrons appreciate the advantages of the Mov-Ezy. 
Actual tests show that people prefer them to any other theatre 
chair. They are noiseless in operation, keep perfect alignment with 
other chairs in the row, except when intentionally turned to one 
side, and offer a wide range of finishes designed to harmonize with 
any theatre interior. 

Stop at our show room for demonstration or write for beau- 
tifully illustrated catalog. 


Josiah Partridge & Sons Company, Inc. 


Show Room 
Sales Office 


47 West 34th Street 


529-541 

Marbridge Building 


New York 


It Isn’t As If It COST MORE! 


I T could well bring more money, but it doesn’t — and 
besides, you get four actual guaranteed advantages 
when you use the new 


a 


F 


IL 


Fast” 


TRADE MARK 


PROJECTING REEL 

T HIS picture shows the two springs that fit “round- 
the-barrel” and the triggers that raise these springs 
— so that you can fasten a film end to the reel at 
once — quickly and surely. 

And you use only the first 
finger and thumb of one 
hand to do it. 

Showing the attaching 
springs that instantaneous- 
ly grasp the film end and 
do not fray, or split, the 
film. 

Ask about the other 
THREE points that mean 
better projection. 

FRANK MOSSBERG CO. 

P. O. Box 420 ATTLEBORO, MASS., U. S. A. 



POLI’S 

NewPalaceTheatre 

HAS INSTALLED 

RAVEN HAFTONE SCREEN 

RAVEN SCREEN CORPORATION 

165 BROADWAY NEW YORK 



IransVerteK 


REDUCES POWER BILLS 
MAKES BETTER PICTURES 


Changes AC into DC, which is best for projection arcs. It 
automatically supplies the voltage needed without the use 
of wasteful ballast. TransVerteR gives the projectionist 
perfect arcs, clear-white, steady light that is easy to control. 

Write for TransVerteR Facts 


THE HERTNER ELECTRIC COMPANY 

1904 WEST 112th ST. CLEVELAND, OHIO 



MARTIN” 


ROTARY 

CONVERTER 


FOR REAL 

SUN-LIT PICTURES 

PERFECT REEL DISSOLVING 
WRITE FOR FURTHER INFORMATION 

NORTHWESTERN ELECTRIC CO. 

412 S. Hoyne Avo., Chicago 1010 Brokaw Bldg.. New York 





MOVING PICTURE WORLD 


EASTMAN 
POSITIVE FILM 

Adds good photography to picture interest 
— gives that truthful, accurate reproduction 
that is only possible when the reproductive 
scale of the positive material parallels that of 
the negative. That’s why Eastman Positive 
Film carries quality through to the screen. 

Eastman Film, both regular and tinted 
base — now available in nine colors, is 
identified throughout its length by the 
words “Eastman” “Kodak” stenciled in 
black letters in the transparent margin. 


EASTMAN KODAK COMPANY 

ROCHESTER, N.Y. 


^.1 1 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II I II II II 1 1 1 1 1 tl 1 1 1 1 1 M II 1 1 1 11 1 11 II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II I II 1 1 1 1 II 1 1 1 1 II 1 1 1 1 II 1 1 1 1 [ 1 1 II 1 1 1 1 ! 1 1 1 1 1 1 1 : H ; 1 1 1 1 1 1 ! 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 M II 1 1 II II 1 1 1 1 II 1 1 1 1 1 II 1 1 1 1 1 1 1 II I II It I ■ 1 1 1 1 1 1 1 M 1 1 II 1 1 1 1 1 1 1 fl M 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 L 


MOVING PICTURE WORLD 

1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II 1 1 1 II 1 1 1 1 1 II 1 1 1 1 1 1 II 1 1 1 1 1 1 II 1 1 1 II 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 1 II I II I ! 1 1 1 1 1 1 J 1 1 1 1 1 1 1 1 1 1 II 1 1 1 II 1 1 1 1 1 1 1 1 1 1 II 1 1 II 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 i 1 1 1 1 1 1 1 II 1 1 1 1 II 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 


HOW DISTRIBUTORS OF 

POWER’S PROJECTORS 

S. & S. FILM AND SUPPLY CO., PITTSBURGH 

ARE ADVERTISING LOCALLY 


ONLY ONE OF THE MANY 

BIG DEALS WE HAVE CLOSED 



THE LARGEST 
^ INDIVIDUAL 
ORDER 

EVER RECEIVED 
IN OUR 
TERRITORY 

WAS PLACED BY 

THE 

HARRY DAVIS 
ENTERPRISES 
COMPANY 

PITTSBURGH, PA. 

FOR FIVE 

OF THE NEWEST TYPE— — 


POWER’S PROJECTORS 


WITH POWER’S G. E. HIGH INTENSITY ARC LAMPS 
WHICH WERE INSTALLED IN THE 

MILLION DOLLAR GRAND LYRIC THEATRE-DAVIS THEATRE 

ALL “FIRST RUN” DOWN-TOWN HOUSES 


NICHOLAS POWER COMPANY 


1 1 1 1 1 1 1 1 1 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 II I II I i I ! ! 1 1 1 1 M 1 ! 1 1 ! ! I ! 1 1 1 1 1 1 ! 1 1 ! ! 1 1 ! 1 1 1 1 II 1 1 II 1 1 1 1 1 1 1 1 1 1 1 1 II I II 1 1 1 1 1 1 1 1 1 1 1 1 M 1 1 1 II I II 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 IJI 1 1 1 1 1 1 1 1 1 1 





est PAID Circulation in the Field — 10,709 


Moving" Picture 

WORLD 


Vol. 58, No. 3 


SEPTEMBER 16, 1922 


PRICE 25 CENTS 


i 



ADOLPH ZUKOR^ 
PRESENTS A 


a 

paramount ] 
Cpicture 


To Have 
To Hold 


WITH 






Betty compson 
and Bert lytell 


ntPict 


T HE biggest thing Fitzmaurice has ever done. 

One of the four biggest box-office attractions 
of the season. 

By Mary Johnston. Scenario by Ouida Bergere. 


Published by CHALMERS PUBLISHING COMPANY 


516 FIFTH AVE. 
NEW YORK CITY 


MOVING PICTURE WORLD 



Announcement 




NEXT 

WEEK 



September 16, 1922 


MOVING PICTURE WORLD 



No. 19 




e S 


JESSE L. LASKY 
PRESENTS 


WALLACE 

REID 

The Ghost 
Breaker" 


SUPPORTED BY 


LILA LEE and 
WALTER HIERS 



H ERE’S one that combines 
romance, comedy, adven- 
ture and mystery in a thrilling 
and satisfying manner. There’s 
a laugh, a gasp and a surprise 
every minute. Your patrons will 
like it. 

From the play by 

Paul Dickey and Charles Goddard. 

Scenario by Jack Cunningham. 

Directed by Alfred Green. 





This is the 


4-col. press 

^gp^^FAMOUS PLAYERS LAS KY CORPORATION 

ad. Mats at 

exchanges. 





Oh Boy! What a Picture / 


MOVING PICTURE WORLD 


September 16, 1922 


This picture has everything- / 

Humor ! Pathos I Tenderness ! 
Heart-throbs ! Punch ! Power J 

Pep! Warmth ! 


Rupert 


Huohes 




Appealing Drama 
of American 
Family Life 


Y OUR audience is sold on Rupert Hughes! 

They like his brand. It hits folks where 
the heart is. 


That’s what made “The Old Nest” a box-office 
wonder that still continues to reap profits. 

Rupert Hughes has now written an even big- 
ger drama of American home life, a tender, 
thrilling yet humorous story of father who 
pays the bills. 

It has the Hughes heart wallop. It has the 
Hughes audience angle. It has tears, laughs, 
fights, frolics. 

IT HAS EVERYTHING! 

If you know a winner when you see it — 
That’s “Remembrance.” Go and get it! 


September 16, 1922 


MOVING PICTURE WORLD 


157 


Stronger than 


The Old Nest 





with 

Claude Gillingwater 
Patsy Ruth Miller 
Cullen Landis 


and 

Kate Lester Lucille Ricksen 
Richard Tucker Dana Todd 
Esther Ralston Nell Craig 
Arthur Trimble Max Davidson 




158 


MOVING PICTURE WORLD 


September 16, 1922 


Florence Vidor 


DUSK TO DAWN 



Last Week 
at the 

NEW YORK 

CAPITOL 

Direction S. L. Rothafel 

World's Largest 
'Theatre 


From the fcrrnous novel The SHUTTLE Soul’ b/ Katherine Hill 

A King Vidor Production 

ASSOCIATED EXHIBITORS 

APTHUPS PA for put) 


The picture is interesting. Miss Vidor is one of our favorites. 
Someone said the other day that he liked her work because she is a 
lady, and that is not such a poor explanation of her charm either. — 
Harriette Underhill in the New York Tribune. 


An enjoyable him of an unusual story which has received the right 
treatment. Florence Vidor is another young woman who understands 
the art of acting before the camera’s merciless eye. . . . She gives 
this part an individuality that is Miss Vidor’s own. — New York Evening 
Post. 


The picture is very well done, with Florence Vidor playing both 
roles in a very pleasing manner. It is an interesting picture, absorbing 
and unusual . — New York Evening Journal. 


Florence Vidor is seen in a thrilling drama which gives this charm- 
ing screen star a dual role. Spendid work is done in the picture. — 
Robert G. Welsh in the New York Evening Telegram. 


PORE /GM R£S»R£SE AS TAT/ IS £ 
S/OAS£y GARRETT 


Physical Distributors 

Pathe Exchance 


September 16, 1922 


MOVING PICTURE WORLD 


159 


Dean says: 

"This Comedy Reaches 
a High Level of 
Production! 

The “Dean” of Newspaper Critics 

James W. Dean, the critic for the Newspaper Enterprise Association Service, says of “That Son of a Sheik” — 



“This comedy reaches a high level of pro- 
duction. Its scenes are just as beautiful 
as those of the various feature pictures 
dealing with desert themes. Its story is 


more interesting than most of them and 
its burlesque portrayal of desert life just 
as true to life as that of films which sought 
seriously to reproduce that life.” 


AND He said it as part of a long newspaper review of the first of the new 



1922-23 SERIES 

Dean’s illustrated article will appear in hundreds 
of newspapers and your patrons will see it! 



Contract for Christie Comedies NOfV! 


20 TWO-REEL COMEDIES 1922-23 


They are 
Nationally 
Advertised 


A 







“THE SPICE OF THE PROGRAM' 


r 


They are 
Nationally 
Advertised 


EDUCATIONAL FILM EXCHANGES, Inc, 


E. V.\ HAMMONS . President 



A CRASHING, SMASHING, UP-TO-THE-MINUTE 20TH CENTURY STORY OF YOUNG PEOPLE! 

GRAPHIC PRODUCTIONS PRESENT FOR BOX OFFICES 


WILDNESS 



Let the trade say the rest! 

“An intensely human drama.” — Harrison's 
Reports. 

“Good melodramatic story, logically told 
—audience appeal — well sustained interest.” 
— Film Daily. 

“Splendid cast — up-to-date melodrama. 
Motion Picture News. 

“Powerful— dramatic— Abramson has given 
trade what patrons are demanding.”— Mov- 
ing Picture World. 

“Will rank with the best of recently 
screened state right subjects.” — Exhibitors 
Trade Review. 

“Well directed — exceptional cast — cleverly 
told story— should find ready acceptance.” 
— Exhibitor’s Herald. 

“Powerful dramatic story — big surp r ’ s<? 
ending.” — Motion Picture Journal. 


THE GREAT AMERICAN FLAPPER 
CAN NOW SEE HERSELF! 


READ THE TITLE AND TAKE A 
GUESS HOW MANY YOUNG PEO- 
PLE WILL DARE TO STAY AWAY! * 


ALL THE EXPLOITATION HELPS 
YOU NEED. ASK US TO SEND A 
SAMPLE OF THE SPECIAL “GOLD- 
TIPPED WHISTLE CIGARETTES 
WITH ENVELOPES.” TIE THEM UP 
WITH A CAMPAIGN ON THE QUES- 
TION OF WOMEN SMOKING! 


READ THE CAST — VIRGINIA PEAR- 
SON — MARY ANDERSON — HARRY 
MOREY— JOSEPH STRIKER— JULIA 
SWAYNE GORDON — THURSTON 
HALL— BOBBY CONNELLY. 


A Cast Any Producing 
Unit Would be Proud of! 


September 16, 1922 


MOVING PICTURE WORLD 


161 


cjke 

GRAPHIC 

oAmerica’s Screen ^Magazine 

of Human Interest 

E DUCATIONAL has desired ever since its inception to release 
a genuine screen magazine. 

Not a release made up of scenery, but one built up on short, terse 
stories filled with zest and human interest. 

To build such a product required the services of national magazine 
and newspaper specialists who only recently became available. 

Motion picture specialists have been added to the staff, and on 
October first the premier release of THE GRAPHIC will be ready 
for your closest scrutiny. 

In brief, THE GRAPHIC will be a human interest digest of the 
world and its people. Not necessarily people who are prominent 
in the sense that they are rich and powerful, but always people 
who are picturesque. 

THE GRAPHIC will reflect not only what people are doing, but 
bow they feel about what they are doing. 


k. “THE SPICE OF THE PROGRAM J 

/A 


EDUCATIONAL FILM EXCHANGES, Inc. 

E. W. HAMMONS, President 



162 


MOVING PICTURE WORLL September 16, 192* 

) ** 



[9INDEPENDENC1 
' /v- strength . 


VV i II i a m l~© X 

jarc/e r»t/ 

THE flPFIMPICIAL 


From the ftagc Play by 

PORTER EMERfON BROWNE 

I n r p i r e d by 

KIPLING/ Poem 

THE VAMPIRE 

Directed by CMMETT i. FLYNN 


m 








16J 


September 16. 1922 MOVING PICTURE WORLD 



indep ?SJ e i 

^STRENGTH! 


THE MO/T CONVINCING ACTOR 
ON THE /OR E E N 


CCQROC /aRB6R6U6H 

D ire ct e d I > y 

ffc'CTT DUNLAP 

ti C . R. WALLACE 


V 


V 






164 


MOVING PICTURE WORLD 


September 16, 1922 


j 





WILLI A 


/i dynamic 
£m/ drama oP 
\_s the mining 
Pields where 
even the pines 
whisper tales 
oP Romance 
and Adventure 


Story by 

Alan Sullivan 


Directed by 

Howard Mitchell 


LIKE FINDING 
A GOLDMINE 
in your own 
backya r cl 



September 16, 1922 


MOVING PICTURE WORLD 


165 


THE HORSE AID SOCIETY OF NEW YORK, Inc., 1910 

Office 131 West 36th Street. - Phone Fitzroy 59 and 5540 


REST FARM AND HOSPITAL FOR HORSES AND SHELTER 
FOR SMALLER ANIMALS, MILLWOOD, N. Y. Briarcliff 135-F-ll 


PRESIDENT AND FOUNDER 

MRS. JACOB M. EHRLICH 

VICE-PRESIDENT 
PERRY A. HUDSON 

TREASURER 

MRS. ISAAC GUGGENHEIM 

SECRETARY 

ROBERT MORGAN MCCAULEY 
DIRECTORS 

MRS. JACOB M. EHRLICH 
PEtfRY A. HUDSON 
MRS. ISAAC GUGGENHEIM 
ROBERT MORGAN MCCAULEY 
MRS. JAMES W. WARING 
HARRY W. BELL 
MISS BELLE BEACH 
COUNSEL 

JOHN T. BOOTH 

ROBERT MORGAN MCCAULEY 



ADVISORY BOARD 

MISS CLARA S. PECK 
MRS. WILLIAM H. REYNOLDS 
MRS. RUDOLPH J. SCHAEFER 
MRS. PAUL PRYIBIL 
MINNIE MADDERN FISKE 
MISS LOUISE CASTREE 
MRS. REGINALD PELHAM BOLTON 
MRS. MINNA SCOTT VON REHM 
MRS. HAYTON CORSA 
MRS. WARREN B. SANFORD 
MRS. WILLIAM K. TOWNSEND 
MRS. ROBERT L. MCCANN 
MRS. H. D. LEWIS 
MRS. C. L. HOUSMAN 
MRS. FRED WILLIAMS 
MRS. GEORGE MILLS 

VXTERIN ASIANS 

WILLIAM M. FLEISCHM AN 
C. G. ROHRER 


THIS AMBULANCE PATROLS THE STREETS FULLY EQUIPPED FOR ALL 
ANIMAL RELIEF 


New York, N.Y. August 1?, 1922. 

Mr. Joseph Plunket, Managing Director, 

Strand Theatre, New York City. 

My dear Mr. plunket:- 

Words fail to express my appreciation of the picture entitled "Just Tony". I 
have taken several friends on two different occasions. This is the first time 
in my life that I have ever seen a picture twice, and enjoyed it as much, if 
not more, the second time than I did the first. 

I have worked with horses for the past twenty years and, of course, I know how 
intelligent these faithful creatures are. I hope the public will be awakened 
through this picture and realise how much more can be done with animals through 
kindness. I am sure "Just Tony" will have a successful run. 

Every boy and girl, as well as the grownups, in the United States should see 
thl s ‘picture and William Pox certainly deserves praise for producing such an 
excellent entertainment. 

/ i ' \ 

I thank you for calling my attention to this wonderful picture, and giving me the 
opportunity of seeing it. You know I never go to shows of any kind but if there 
were more pictures like this, I would always go to see them. 


Very sincerely yours, 

THE HORSE AID SOCIETY. OF NEW. YORK 
(Mrs. J.M. ) 

SE-MM President 

A SQUARE DEAL FOR THE HORSE 

Your horse will give you better service and live longer if you give him Three Ample Meals Daily: Water Frequently, Proper Shoes; A Blanket in Cold 
Weather; Two Weeks Vacation Annually or an Occasional Rest; At All Times a Comfortable Bed and a Roomy Stall. 

THROW AWAY THE WHIPI DISCARD THE BLINDERS! BE KINDI IT PAYS! 




w JUST TONY 

A WILLIAM FOX ATTRACTION 



/ 


166 


MOVING PICTURE WORLD 


September 16, 1922 


> 



There always has been and there always will 
be a demand for clean .wholesome” Westerns" 
The William Fairbanks features will be pro- 
duced with scrupulous care for the worlds 
best theatres 


Vice-President, Arrow Film Corporation. 


I'm telling you! 


ROW will 
release a series 
of six big-calibre 

Westerns starring 

WILLIAM FAIRBANKS 

and produced by 

BEN WILSON 

from stories by 

W.C.TUTTLE 
and that’s a com* 
bination that spells 

M-O-N-E-Y 
for every box^ 
office in the land! 


I 


(Available at Leading Independent Exchanges 
ARROW FILM CORP., 220 West 42 nd St. NewYorkCity 


DISTRIBUTORS FOR UNITED KINGDOM 

INTER-OCEAN PHOTOPLAYS, LTD., 162 WardourSt. London 


September 16, 192 l. 


MOVING PICTURE IVORI.P 


1 67, 


) 






OcTOBEft 


.Complete Novel by 
\ ^kltifePlNKERTONS 


.LONELY 

[LAKE 

mPOST 


(jchibitors:- 

Everv time you book an Arrow Picture 
you strike a blow for Independence/ 
Support the Independent Exchanges 
ana they wilt support you . 


Here are six reasons umy me 
WILLIAM FAIRBANKS SERIES 
iVillbeauHnner:- 


PEACEFUL PETERS 

5HO RT STO R I ES , OCT. 1 9 20 
u 


"THE SHERIFF OF SUN DOG" 

ADVENTURE,NOV.192t 
*1 


HASHKN1FE - PHILANTHROPIST 

ADVENTURE, JULY, 1920 

w 


LAW RUSTLERS 

ADVENTURE, SEPT.I921 


SPAWN OF THE DESERT 

SHORT STORlES.MAy.1922 


“COLTUS COLLINS" 

SHORT STORIES, MARCH.I922 


THERE IS 
NO GAMBLE 
ON THE 
WILLIAM 
FAIRBANKS 
SERIES ! 
YOU KNOW 
WHAT YOU 
ARE BUYING! 
EVERYONE A 
PUBLISHED 
STORYAND 
EVERYONE 

A KNOCKOUT! 

read, the stones 

and convince 

yourself 

— 


WORLD 


September 16, 1922 


168 


MO V I N G PICTURE 





For where there are Irish 

there’s lovin , and fightin’ 
And where there is neither 
> t i s Ireland no mor e 


The Kipling couplet above describes the picture, as it is full of 
both. 


— New York Morning Telegraph 


NEW YORK 


Turn your lobby into an Irish village. 
Go to it. Now — next fall — next winter, 
and next St. Patrick’s Day! Oh Boy! 

— Motion Picture News 


From the New York American 

“My Wild Irish Rose” is a good pic- 
ture, and it is well photographed. 


From the New York Evening Telegram 

“My Wild Irish Rose” is a strange coupling of 
two classics — a song and a story. It sips the sweetness 
from both Chauncey Olcott’s song and Dion Bouci- 
cault’s famous stage success. This appealing motion 
picture, which has the power to please all factions 
and offend none, is given a surrounding musical pro- 
gram that is Celtic to the core, and is worthy of hear- 
ing, even as a separate entity. 

From the New York Herald 

The settings have been well chosen and the picture 
will be enjoyed by all those who travel miles to hear 
Chauncey Olcott say, “Ah darlint.” 

From the New York Tribune 

“My Wild Irish Rose” is unusually good enter- 
tainment. 

From the Motion Picture News 

No picture has ever been placed in celluloid form 
which is more true to the atmosphere of the Emerald 
Isle. One can almost smell “the ould sod” and the 
peat bogs. Scenieally, “My Wild Irish Rose” is a 
thing of beauty. 


From the New York Evening World 

If anyone enjoys ANY sort of entertainment this 
sort of weather, they will enjov “My Wild Irish 
Rose.” 

From the New York Evening Journal 

A liberal, full-sized bouquet of flowers is shown in 
“My Wild Irish Rose” at the Strand Theatre. “My 
Wild Irish Rose” is a beautiful, interesting and effi- 
cient adaptation of Boucicault’s play, “The Shau- 
graun. ’ ’ 

From the New York Sun 

“My Wild Irish Rose,” the adaptation of Dion 
Boucicault’s play “The Shaugraun,” at the Strand 
this week, is not much wilder or distinct from other 
roses, but it will be enjoyed by those who like any 
kind of roses. It has been well directed by David 
Smith, and there is a freckled little boy in it whose 
popularity may lead Jackie Coogan to adopt freckles, 
too. 

From the New York Daily News 

There’s the funniest little boy — Richard Daniels — 
whose freckles rival those of young Wesley Barry, in 
this picture. 



September 16, 1922 


MOVING PICTURE WORLD 


169 



CHICAGO DENVER 


CHICAGO TRIBUNE 
It’s a nice change from the bobbed heads 
and abbreviated frocks of today, this glimpse 
back into Victorian times. The clank of 
swords and the mustu scent of crinolines have 
charm that never dies. It’s a delightful bit 
of nineteenth century drama. 


Chicago Herald-Examiner 

The story of “My Wild Irish Rose” is romantic 
and dramatic. There is a great deal of wit and beauty 
in the picture. You will be missing something out of 
the ordinary if you miss “My Wild Irish Rose.” 

From Chicago American 

Pat O’Malley is a real Irish boy in a role that he 
evidently enjoys, and that he makes you like as much 
as he does. A small Irishman, Mickey Daniels, will 
make all freckled faced youngsters look to their 
laurels. Stratford’s musical setting for “My Wild 
Irish Rose” makes a double reason for you to hurry 
there. Come on, let’s go. 


SAN FRANCISCO 

From San Francisco Bulletin 

“My Wild Irish Rose” abounds in dramatic situa- 
tions. The arrest of the hero, his trial, banishment to 
Australia, his escape from the prison ship, a stirring 
battle atop a cliff, are but a few of them. The director 
has achieved an array of living and lovable character- 
izations that stand out with cameo brilliance. 

From San Francisco Call 

“My Wild Irish Rose,” the feature photoplay at the 
Tivoli this week is a thing of beauty, and runs true 
to the atmosphere of the Emerald Isle. The picture 
has a good story, one which holds the interest at all 
times, and a splendid cast, the members of which give 
some fine character portrayals. 


From San Francisco Chronicle 

“My Wild Irish Rose” drew throngs that filled the 
Tivoli Theatre all day yesterday, crowds that laughed 
at the fun and thrilled over the dramatic situations 
of the story. A merry-faced youngster, Mickey 
Daniels, causes many a laugh before he does a thing. 
And he does a lot of them. 


ITA4 


Charge to the account of_ 


F SERVICE DESIRED 


WESTE TO t UNION 
telRam 

NEWCOMB CARLTON. PRESIDENT OEORGE W E. ATKINS, PIRST WICE-PREBIOENT 


Send the following message, subject to the terms 
on back hereof, which arc hereby agreed to 


August 14, 19 22 


John It. Quinn, General Manager 
VITAQRAPH Inc., 

1400 Looust Avenue 
Brooklyn NY 

Wild Irish Rose oponed Isis Theatre Denver Saturday 
during hot weather at advanced prices with Grandma's 
Boy for opposition and in two days has played to 
eight thousand one hundred ' seventyseven paid admissions 
Pleasing everyone and holding them out of eighteen 
hundred seat house 

Frank E. Hickey 


From Denver Post 

Mickey Daniels, with his justly famous freckles, is 
at the Isis this week, and you would think you were 
in a peaceful spot in old Ireland. The feature is 
“My Wild Irish Rose.” An’ shure, it’s a foine pic- 
ture, so it is. It is a strange coupling of two classics, 
a song and a story. One was sung to fame by Chauncey 
Olcott and the other was Dion Boucicault’s “The 
Shaugraun. ” The combination of so many things, all 
tend to make an excellent entertainment at the Isis 
this week. 


\ REAL special production. 

All-star cast. Beautifully 
screened. A ready-made 
demand. Wonderful tie-up 
plan. A sure-fire box office 
opportunity. 



ALBERT E. SMITH president 



170 


MOVING PICTURE WORLD 


September 16, 1922 


You Cant Afford 
To Miss 
Them 


“Enclosed please find our check for $7, 
in payment of renewal subscriptions for 
Mr. Tickner and Mr. Ball. As subscrib- 
ers to your paper for — we think — eleven 
years, permit us to extend our congratu- 
lations to Mr. Welsh, who has recently 
taken up the reins of office in your edi- 
torial chair, and to express our recogni- 
tion of the vim and enthusiasm shown in 
recent numbers.” 

This, a letter from Messrs. Tickner and 
Ball, of the Revue Theatre, Toronto, 
Can., is only one of hundreds of similar 
expressions received in the past few 
weeks. 

We quote it particularly merely because 
it succinctly expresses the thought that 
runs through all the letters. Two phrases 
tell it — “subscribers for eleven years,” 
and “recognition of the vim and enthus- 
iasm shown in recent issues.” 

* * * 

We know not, or, rather, care not what 
you buy when you buy space in the other 
trade papers of this business. We be- 
lieve you buy a dollar’s value for a dollar 
spent — for we believe you are shrewd 
buyers. 

We believe that the man with some- 
thing to sell should sell that SOME- 
THING. 


We HAVE value to sell — and that leaves 
neither the time, the necessity, nor the 
inclination to discuss “the other fellow” 
with you. 

We HAVE 10,709 PAID subscriptions 
to sell you. (A. B. C. Statement.) 

We HAVE, in this strictly trade circula- 
tion, many thousands of exhibitors who 
can be reached through no other trade 
paper. 

Eleven-year men, ten-year men, even 
fifteen-year men — veterans who had 
Moving Picture World alone as their 
guide the day they entered this business 

and have had it at every step since. 

* * * 

There is an open and shut, two plus two 
proposition. 

Unless Moving Picture World carries 
FULL advertising from you there are 
some of your trade announcements that 
are not being seen by thousands of ex- 
hibitors. 

That’s fact. And at this particular mo- 
ment that fact is of unusual importance 
to you. 

For those exhibitor readers are “recog- 
nizing the vim and enthusiasm” of the 
new-old Moving Picture World. 

There is an interest and responsiveness 
in the readers of a paper that is GOING 
FORWARD. 

The paper that is being WATCHED is 
the paper that is being read. 

They are watching Moving Picture 
World because they know it is striving 
with redoubled energy, ambition and 
strength to serve them. They know 
there are many good things — and new 
things — coming to them with each new 
issue. 

They are WATCHING the ad pages of 
Moving Picture World. 

Are you in those pages — in FULL 
strength? 

Robert E. Welsh 


September 16, 1922 


MOVING PICTURE WORLD 


171 



172 


MOVING PICTURE WORLD 


September 16, 1922 


In Its Second Smashing Week 

Unanimously Hailed as"Box Office" 



+ PICTUPES INC. * 


Box-offices "talk'’ when they have a real picture showing on the 
screen inside. You needn’t give two whoops about what the critics or 
reviewers say if the public says” We like this show.” In Los Angeles the 
public has said this, and the result is two big weeks at the most not- 
able extended run theatre on the Pacific Coast — the Mission Theatre. 

So, when public approval has been given this picture it is then 
fair enough to give the critics and reviewers credit for having pre- 
dicted the success of "Queen of the Moulin Rouge” as the notices 
quoted here reveal. 


presents 

QUEEN OF 



J Ray C. Smallwood Production 


MOVING PICTURE WORLD : Ray Small- 
wood has accomplished a fine piece of 
work in staging “Queen of the Moulin 
Rouge.** It has the realistic atmosphere 
of the Montmartre section of Paris and 
the agreeable glamour. Another famous 
musical comedy has reached the screen 
elaborated and built out to assume the 
dimensions of a production. Exhibitors 
will find that it has a strong, popular ap- 
peal from many angles. Altogether a 
good production. It has human appeal 
and 6trong love interest. 


NEW YORK TELEGRAPH: It stacks 

up well as cinema entertainment. Another 
example of a stage play being well adapted 
for the screen. It is a very good “buy** 
for exhibitor and fan. A picture that 
will please and that has the decided ad- 
vantage of having been well advertised. 

EXHIBITORS HERALD: A rapidly mov- 
ing story told in good continuity* against 
a brilliant background. A splendidly 
produced feature. The Paris of the pic- 
ture a believable one; no better cabaret 


stuff has ever been produced. It is* pre- 
cisely the type of picture that the title 
promises. 

EXHIBITORS TRADE REVIEW: Paul 

Potter's play gains much in its transfer 
from the stage to the screen of Pyramid. 
Here is illusion, atmosphere, color; some- 
thing to engage the eye constantly. One 
has the feeling that here is Paris with all 
of its gaiety, its sordidness and its artistic 
side. Atmosphere is rarely ever so promi- 
nent and important as it is in “Queen of 


the Moulin Rouge.** TruthfuL convincing 
and spectacular. 

LOS ANGELES 'EXPRESS : “So this is 
Paris! Emphatically affirmative is the 
answer. . . Atmosphere has been 

created that puts this picture in the 
something different* class. Upon 

the settings, upon the continuity and in 
general upon the acting, lies the charm 
}f the picture. . . The cafe scenes 

have been done with a lavish hand.** 


Big First Runs Can Book for Personal 

Dancing Act”lTlartha Mansfield 






September 16, 1922 


MOVING PICTURE WORLD 


173 


at Mach Sennett's "Mission " 


by Exhibitors and Jrxuie Critics 




In San Francisco Irving Ackerman and Sam Harris took their big 
legitimate theatre, the Casino, and converted it into a "picture 
house” to play "Queen of the Moulin Rouge” at advanced prices 
surrounded by a 20-girl Apache act— making it a road show attraction. 

In New York, following its first big run, Sidney Cohen and an 
allied exhibitor group forming the new big third metropolitan circuit 
have booked "the Queen” for 1 10 days which American Releasing 
supports with a city-wide billboard campaign for an entire month 
beginning September 17th. Everybody’s booking it everywhere. 


MOULIN ROUGE 


from Paul Pxxtter’s famous Stage Success 


LOS ANGELES HERALD: “The acting 

throughout this picture is superb, and the 
settings are wonderful, as «very effort was 
made to make it one of the greatest pro- 
ductions of the season.” 

MOTION PICTURE NEWS: “Pre-emi- 

nently respectable ... A well-con- 
structed story and a number or sequences 
that carry plenty of suspense and interest. 

A good audience picture founded 
on sure fire theme. . . . Ought to 

make money.” 


HARRY DAVID: The Managing Director 
of the Mission Theatre in a telegram says: 
“Exhibitors are constantly on the watch 
for pictures of quality with a box-office 
value and title, and also which lend them- 
selves to great exploitation. Here is a 
picture that answers all these require- 
ments. The ‘Queen of the Moulin Rouge’ 
opened Saturday, August 26th, at the Mis- 
sion Theatre to an exceptionally good day 
notwithstanding the fact that it was the 
hottest day of the summer. Each day’s 
business has built up remarkably, hot 


weather continuing. I think this is a 
wonderful example of the pulling power 
of any production. Newspaper notices ex- 
tremely kind; public accepts the picture 
100 per cent.” 

HARRISON’S REPORTS: An excellent 

drama that should have universal appeal. 
The action impresses one as true to life, 
the continuity flows smooth, the characters 
act as real human beings and all the at- 
mosphere is faithfully created. 


FILM DAILY : There’s hardly a doubt 

that ( the critic sai'd “but what”) “The 
Qpeen of the Moulin Rouge” will prove 
a good box-office picture for certain ex- 
hibitors catering to the more sensational 
tastes. Ray Smallwood has been quite 
elaborate in his depiction of the Red 
Mill. Exhibitors . . . will surely cash 

in on “Queen of the Moulin Rouge” by 
promising their patrons a story of Paris 
night life and telling them about the 
Apache sequence. 


Appearances, OKree Shows Daily, A Big 
and the ITloultn Rouge Girls" 


RELEASING CORPORATION 


MOVING PICTURE WORLD 


September 16, 1922 



A Weekly Feature 
for All of America’s 
100 Million People 


There Are Thousands 
In Your Town Who 
Want to See — 

The Temple Solomon built on Mt. Moriah 

Golgotha, the place of Crucifixion 

The spots that Jesus visited 

The home of the wives of Solomon 

Where Judas ended his life 

Where David, the shepherd boy, was born 

The Pool where David had the murderers 
hanged 

Where Philip baptized the Ethiopian 

Eschol, where the^ spies of Moses’ army 
visited 

Where Esau sold his birthright to Jacob 

Where Abraham denies his wife to King 
Abimelech 

Gaza, the scene of the escapades of Samson 

Bethany, the home of Martha, Mary and 
Lazarus 

Where the Jordan parted to allow the 
Israelites to cross 

The spot where Ahab was killed 

The point where Jesus was baptized 

The place where Abraham saw the angels 

Shiloh, the temple that remained the 
longest 

The place of Salome’s dance before Herod. 


What Tissot, the great painter did twenty 
years ago when he went to the Holy Land at 
the order of Samuel S. McClure to paint the 
lands where religious history began, has been 
exceeded by this remarkable expedition con- 
ceived and financed by the Cincinnati organ- 
ization of which Albert Krippendorf is 
President and J. E. Holley, Treasurer and 
General Manager. 

Dr. "Holley, who had made two extended trips 
in previous study and preparation, led the 
Geographic expedition and was instructed to 
"get everything to be had" before he returned. 
This he did, bringing back the most amazing 
and enthralling motion picture panorama the 
screen has ever known. 

TheVfcice 

A Picture Panorama 

Every city, every hill, every river, every sea, 
every place having mention in the Bible was 
filmed; Damascus, Jerusalem, Bethlehem, 
Nazareth, Hebme, Beersheba, Gaza, Joppa, 
Caeserea, Tyre, Samaria, Shiloh, Jericho. 
Every mountain and valley, in all more than 
1500 places having connection with any part 
of the Bible, were photographed and it was 
done with a purpose: to prove that an educa- 
tional film may be made with tremendous 
magnetic entertainment values. 

If Abraham, or Jacob, or David, or Solomon 
or Jesus or any other Bible character has 
been at any of these spots this great series 
contains pictures of each and all of these 
places. And not only the places but the 
people, their habits and customs; whether 
they w ork or play, whether they sow, reap or 
grind; shepherds, peasants,farmers, merchants; 
every type and their environment are shown 
in these unusual pictures. 



In Canada: Canadian Releasing Corporation. Limited 




American Releasing Corporation will distribute, beginning in October at the 
rate of one each week, fifty-two one reel pictures produced in the Holy Land 
and showing the actual scenes of every significant place mentioned in the Old 
and New Testaments. These are so assembled and titled that they eliminate 
every shred of doctrine, creed or preachment and they are embellished and 
beautified, with Prizma natural-color and otherwise, to make them both inter- 
esting and entertaining. 


The time has arrived for the theatre-owners of America to begin a systematic 
endeavor to build up their businesses by creating new screen audiences. The 
body of people who will be drawn into theatres by these features are what may 
be termed the religious and educational forces of the nation. 



Of the Land 


of the Cradle of Religious History 


These amazing pictures will not be 
booked for private or public showings 
in any other places until the theatres 
of the country have had ample opportun- 
ity to present them as much as they wish. 

We are positive that when these en- 
grossing pictures are run in your theatres 
that every moral and religious factor in 
the country will recognize for the first time 
that there is a real desire on the part of 
exhibitors to be constructive in the selec- 
tion of their programs. 

We believe that the presentation of these 
productions will cause a reaction against 
censorship and the increased agitations 


for Sunday closing. These pictures on 
your screen are an evidence of your good 
faith in making an endeavor to broaden 
the appeal of your theatre by catering 
regularly to the conservative, and best 
elements of your community or neigh- 
borhood. 

«. . 'V '• ' ...... . v . . s 

The protection of theatres for a long period 
against any form of non-theatrical showing 
is granted by us because it will place in 
the hands of theatre-owners a subject that 
will do more to alleviate all of the de- 
structive criticism of motion pictures and 
the theatres that show them than any 
single factor ever before known in this 
industry. 


JVmericati 

RELEASING CORPORATION 




In Canada: Canadian Releasing Corporation, Limited 


176 


MOVING PICTURE WORLD 


September 16, 1922 


CLOSE YOUR THEATRE 

TO LOSSES 

FIRE YOUR HELP 

WITH ENTHUSIASM 

SELL YOUR SEATS 

3 OR 4 TIMES A NIGHT 

TURN YOUR THEATRE 

INTO A MINT 


BY PLAYING 



ROY STEWART AND A SPLENDID CAST 
A CHESTER BENNETT PRODUCTION 

FILM BOOKING OFFICES OF AMERICA, Inc. 

MAIN OFFICES: 723 SEVENTH AVENUE, NEW YORK EXCHANGES EVERYWHERE! 




R- A. Walsh presents Miriam Cooper in 
Peter B. Kyne’s famous story of the Northwest, 
which thrilled millions in the Saturday Evening 
Post. One of First Nationals Great Selection ! 


178 


MOVING PICTURE WORLD 


September 16, 1922 


-3 

Opens to Jlying start 



Critics Call Picture an Exceptional Drama 


The Niagara Falls Gazette says: 

“An exceptionally good selection. 
The color photography was a reve- 
lation — the coloring artistically but 
naturally employed, made the fig- 
ures so lifelike you expected them 
to step down from the screen and 


speak. It was like a painting of 
one of the Old Masters. 

“A dramatic story of love and ad- 
venture. Miss Hampton’s work was 
particularly fine. She is the embod- 
iment of youthful beauty and charm. 
The picture was greeted by ap- 
plause.” 


The Niagara Falls Evening Review 
says : 

“A distinctly new type of picture 
with an appeal throughout. Not 
only is it a new picture, but the new 
coloring brings nature in all her col- 
ors to the screen — a wonderfully 
beautiful thing.” 



September 16, 19- ~ 


MOVING PICTURE WORLD 


179 


at World's Premiere / 


Ralph Thayer, manager of the Niagara Falls Strand Theatre, proclaims 
picture a splendid success at world’s premiere, playing to tremendous 
crowds at the opening of the beautiful new showhouse. Hope Hampton 
meets personal triumph at showing of the biggest and best picture in 
which she has appeared, eclipsing all her previous successes. 




Suddenly the court room hushed in awe as a resplendent light flooded the chalice. 

with Lon Chaney and E. K. Lincoln 

And an All Star Cast; written by William Dudley Pelley; directed by Clarence L. Brown. 

A FIRST NATIONAL ATTRACTION 


/a r ii\j 1 /a i iw/iL iv / a i iun ^ 

great Jail sdectim! 


180 


MOVING PICTURE W O R L D 


September 16, 1922 


Wliat First National 

Bid Time Attractions 

® are doing/ ^ 

Fresh news every week , . 


“HURRICANE’S GAL” 

Starring the beautiful Dorothy Phillips 
and produced under the direction 
of Allen Holubar 

Mae Tinee, in listing “Hurricane’s Gal” as one of the 
best summer releases, says: 

“It’s a whirlwind of a film — effective in a melo- 
dramatic, vivid sort of way. It was just one fight after 
another, with Miss Dorothy Phillips in the lead, being 
r stormy and tender by turns — but always beautiful. The 
picture fairly SIZZED, there was so much doing. The 
big scenes were well accomplished — so well that you 
forgave occasional faults of detail.” 

The New York Daily News says: 

“It’s a rip-roaring melodrama of the sea. The audi- 
ence lost control and cheered.” 

The Brooklyn Standard Union says: 

“ ‘Hurricane’s Gal’ is a remarkable production.” 

The Detroit Evening Times says: 

“Thrills! Thrills! Thrills! A stirring romance featur- 
ing the beautiful Dorothy Phillips, and a supreme cast 
in one of the greatest love tales staged or screened. A 
perfect storm of sensation. A picture with a punch, a 
zenith of thrills that more than pleased the packed 
houses that feverishly followed every incident.” 

The Detroit News says: 

“A rousing hour and a half of real entertainment. It 
has everything in the line of thrills that can be imag- 
ined — handled with rare understanding.” 

“ONE CLEAR CALL” 

A John M. Stahl production, presented by 
Louis B. Mayer 

H. J. Longaker, Howard Theatre, Alexandria, Minn., says: 
“ ‘One Clear Call’ is seven reels of the finest entertain- 
ment released for some time. Stahl has produced an- 
other excellent feature in this one, and while Milton 
Sills did his part fine, H. B. Walthall and Irene Rich 
must have credit for some of the best work*they ever 
did. First National is sure giving us some fine ones and 
it will help bring back some absentee patrons.” 

George T. Crusen, Empress Theatre, Hastings, Neb., says 
in a report to the Exhibitor’s Herald: 

“Boost it big. It will please all classes. Dandy cast. 
Acting of Miss Rich wonderful. Others very good.” 

The National Board of Review in its criticisms on excep- 
tional photoplays says: 

‘“One Clear Call’ is a melodrama with a difference — 
the difference lies in sheer acting of a high order— in- 
teresting, intelligent.” 

The Illinois State Journal comments editorially as follows: 
“It held the attention of every spectator and literally 
did ‘grip the heart.’ Springfield has seen few pictures 
as cleverly directed and as artistically acted.” 


“THE CROSSROADS OF NEW YORK” 

Mack Sennett’s latest big comedy-drama 
feature, starring Mabel Normand, 
is making the money. 

Robert E. Sherwood, in Life, says: 

“This is unusually good entertainment. Very few com- 
edy-melodramas have been so hilariously funny.” 

The San Francisco Examiner says 
“It is pure melodrama — packed with thrilling fights 
and hairbreadth escapes. Gives much amusement and 
is well received by laughing crowd in attendance.” 

The Davenport, la., Times says: 

“The plot is developed in straight dramatic fashion 
with many unusual angles, and with typical Sennett 
tinge of comedy relief.” 

The Minneapolis Tribune says: 

“It is on the order of ‘Mickey’ and ‘Molly O,’ filled 
with romance, love, intrigue, thrills, humor, pathos and 
comedy.” 

The Butte, Mont., Miner says: 

“Filled with action, drama, thrills and laughs. The 
production has been set with lavish hands and some of 
the scenes mount to sensational heights in their effect.” 

“SONNY” 

Richard Barthelmess in an Inspiration Pic- 
ture, directed by Henry King. 

A. M. Boivles, General Manager of Turner & Dahnkcn, 
San Francisco, wires: 

“ ‘Sonny’ gave better satisfaction and proved a bigger 
box office attraction even than ‘Tol’able David.’ Enthu- 
siastic praise and daily increase in box office receipts 
resulted in second week. Barthelmess is the most popu- 
lar star today and a big asset to the incomparable First 
National program.” 

Sig Samuels, Metropolitan Theatre, Atlanta, says: 

“ ‘Sonny’ is the first picture in all my years as a the- 
atrical manager that I have backed with my personal 
endorsement. It exemplifies the splendid principles on 
which the Better Films Committee is founded — a cleaner, 
finer, bigger and better picture. I am happy to present 
it.” 

“FOOLS FIRST” 

A Marshall Neilan production, taken from 
the story by Hugh MacNair Kahler 

The Atlanta Journal says: 

“One of the most thrilling, entertaining and best pro- 
duced pictures ever shown here.” 

The Atlanta Georgian says: 

“A rattling good picture, with swift action, lots of 
suspense, and told in super six style.” 

The Los Angeles Herald says: 

“Many original scenes showing the master hand of 
Neilan. The climax is so radically new one realizes 
there is no limit to the genius of Neilan.” 

The Los Angeles Record says: 

“Neilan proves himself the Charles Dickens of the 
screen.” 


FIRST NATIONAL ATTRACTIONS 


Moving^ Picture 

WORLD 


A Man 

N O business can rise higher than the funda- 
mentals which govern its everyday operation. 
Must it be written, then, as a fundamental of 
this business, that: 

There is no such word as “Contract” in the him 
dictionary? 

It seems true. 

Perennially, it seems true of the relations of 
players and directors to their employes. 

I 

Often, it has been true of the relations between 
exhibitors and distributors — with either side as fre- 
quently at fault. 

“Confidence and cooperation,” “Unity and united 
action,” — all the 1923 model mottoes that have at- 
tained such popularity in recent months are as so 
many mocking words as long as it remains true 
that : 

A contract in the him business is a scrap of paper. 
Fight for its observance if it is to your advantage, 
and MIGHT is on your side: Break it to smithereens 
if a contract hampers you and RIGHT is the only 
weapon possessed by the other fellow. 

* * * 

There is a class of leech that fastens itself on the 
rising idol and the director who has just scored a 
sensational success. 

The leech drains — and drains — and drains; creates 
nothing, contributes nothing. 

The film leech whispers insidiously : “I know 
you’ve got a contract — but what’s that in the film 
business? You’ve just had a big success and lots of 
people want you. Just tell them you won’t work, 
you’ll soldier on the job, you’ll run up production 
costs — they’ll call the contract off or give you more 
money. And that’s all we’re after.” 

The film leech has been right. Too often. 

Infrequently, there were other companies shy of 
scruples and ready to grab the contract breaker; 
more often the employer “babied” his star or di- 
rector. 


5 Word 

Cheaper to meet the sulker half way than to sub- 
mit to sabotage. 

It’s all unfair. 

Unfair to the industry. And unfair to the ninety- 
nine per cent of players and directors — men and 
women of honor and integrity. All because of the 
remaining one per cent — and the excrement, the 
leeches. 

* * * 

This must be said: 

We know of three individual cases in the past 
month where a rule-or-ruin contract-breaker has 
been at work. And in each case he has discovered 
that : 

There are no bidders for the player or director 
who cannot come to the market with clean hands. 

That is progress. It will prove the most effec- 
tual cure for the contract-breaking evil. An evil 
that tugs at the very vitals of this industry. 

For no industry can be stronger than the word 
and bond of the individuals who compose it. 

* * * 

It would take more space than remains at our 
disposal to even touch on the phase of contract- 
breaking that concerns the relationships of ex- 
hibitors and distributors. 

The fundamentals are identical. 

The distributor whose code reads: “The only 
binding contract is the extra advantageous con- 
tract,” is making his own bed. If producers and 
stars turn his own logic upon him his complaints 
are ridiculous. 

The occasional exhibitor who follows the same 
rule has been responsible for the creation of con- 
ditions oppressive to the majority. 

And it all totals up to an indictment against an 
industry. 

“No business can rise higher than the funda- 
mentals which govern its every-day operation.” 



182 


MOVING PICTURE WORLD 


September 16, 1922 


THREE MINUTE CHATS WITH THE EDITOR 


I Really Think That 

Exhibitors know a , well— a whole lot more about 

running their business than your average New York film 
man gives them credit for. 

I really think — that many exhibitors work up a real ^ peeve 
when they read editorials telling them “Do this !’ — ‘ Don t 
do that !” All written in the spirit you would use addressing 
a six-year-old child. 

The' thought came to mind one day this week when I 
was chatting with W. R. Sheehan, General Manager of the 
Fox Film Corporation. 

I had just witnessed the first of the new Fox “Educational 
Entertainments.” Or, if you want to try it another way, 
“Entertaining Educationals.” 

I was enthusiastic. The General Manager was enthusias- 
tic. We were rushing on conversationally in double har- 
ness. , . 

“If exhibitors only realize what these one reelers are 
o-oing to mean to them,” we were chorusing. “One reel 
entertainment with a punch, plus an educational \alue and 
appeal to the better classes that can’t be calculated. If 
the exhibitor would only — .” 

Then the same thought hit us both. 

“Shucks,” it ran. “We’re talking too ‘New Yorky. , 1 he 
exhibitor knows more about this than we do. Hasn t he 
gone out of his way to get the unusual in topical and maga- 
zine reels? Just because of his anxiety to meet this de- 
mand? Won't he realize at first glance that this is the sort 
of comprehensive, intelligent, and withal, show manlike, 
treatment that he has wanted. - ' Sure he will. 

There is going to be unusual interest in the Fox Educa- 
tional Entertainments just because the exhibitor will know 
what it is all about— and know it without any editorial 

There is going to be unusual interest because the Fox 
Educational Entertainments are unusual. 

William Fox is spending a lot of money here on an _dea 


"Dick” Kowland Says— 

Dropped in for a three-minute chat with Richard A. Row- 
land, former Metro head and now production executive of 
Associated First National Pictures. 

“There is some danger,” says “Dick,” “of our having too 
much prosperity talk.” 

Can you imagine that. - ' We are dodging interviews with 
film executives these days just because we get tired of hear- 
ing— and repeating— “Prosperity is here!”— Hurray for 
Prosperity !”— “Let’s all go on a Prosperity rampage! 

And here was “Dick” Rowland slamming us directly be- 
tween the eyes with the statement, “There is some danger 
of our having too much prosperity talk. ’ 

“Don’t misunderstand me,” he went on. Better times 
are here, better times are coming. 

“But what I mean is that we are not going to ™ ake . up 
one bright and sunny morning and find Old Man Wartime 

Prosperity outside our door. . , 

“And that’s where I feel there is danger in an overdose 
of prosperity talk. The reaction is apt to be bad. Boom 

talk may prove a boomerang. 

“I believe conditions are on the steady upgrade and tl 
we should view the matter that way and work with that 
conviction rather than in a sort of childish faith that there 
is going to be a prosperity miracle. Just as conditions 
started g on the decline a year ago and we spent the last 
summer right at the very bottom of the pit— so I figure 


that is akin to an Ideal. It’s money that he probably won’t 
get back from exhibitors right away. Eventually he will 
get it from schools and colleges. He could get it there now. 
But that isn’t Bill Fox’s way of doing business. 

Bill Fox gets his money from the picture business — and 
he’s a picture man first of all. Here’s about the way he fig- 
ured it : 

“There is a demand among picture patrons for the sort 
of educational entertainment that built the tremendous cir- 
culation of such magazines as Popular Mechanics. Second- 
ly, there is a steadily growing demand on the part of our 
better elements that the picture industry do something to 
meet its opportunities and obligations in educational work. 

“I can kill two birds with one stone. I can provide the ex- 
hibitor with the ‘unusual’ that his program needs, and I 
can start the building of a film library that will show censors, 
reformers, educators and the ordinary, general public that 
the industry is aware of its opportunities for service. 

“Hodge-podge collections of entertaining scenes don’t 
meet the bill on either point. I will give one subject or one 
phase of a subject intelligent treatment in each release, 
with each scene working up to a real entertainment ‘punch.’ 
It can be done — by the right men. And I’ve got the right 
men. 

“Schools and churches will fall over themselves for these 
pictures. But they are made to build business for the 
exhibitor and to build the business for all of us. So, in 
every case the exhibitor in a town or section must have first 
chance at the subjects. We’ll go further and make no effort 
from our exchanges to place them outside.” 

That’s about the way Bill Fox figured it. And if all the 
subjects in the series hold up to the first ones shown — and 
reviewed on Page 214 of this issue — he has lived up to every 
calculation he made. 

And he won’t have to “educate” exhibitors to realize it. 
They know a thing or two. And a lot more. 


that this year will find us on the steady upgrade, and next 
year we will be solidly planted at the top. 

“This year we will have all the prosperity our heads can 
stand — but we can’t afford to rest on our oars. Maybe we 
can try that next year. I wouldn’t advise it at any time.” 

As Dick Rowland’s particular province is production we 
asked him if he found picture making costs decreasing — 
particularly to the extent of bringing a sharp reduction in 
rentals. 

“Production costs are dropping,” he replied, “but not to 
the point that might be imagined from an outside glance. 
You must remember that labor costs — which enter so large- 
ly into the total overhead — went up steadily under union 
pressure in the past few years. And there is no sign of 
them receding. 

“Materials are cheaper, and players’ salaries not so ex- 
orbitant — but against this is the strong competition for 
stories that is forcing prices up to new levels. 

“Then again, picture producers now admit that it is TIME 
that makes the big picture. And time costs money. 

“You can stage one story in three months if you want 
to — or you can stage the same story in four weeks. Hie 
skeleton may appear the same. But the difference is in the 
quality — the human touches that make one a ‘fillum’ and 
the other a PRODUCTION. 

“There is no way of cheating on this question of time- 
and the producer who tries it is only fooling himself 


September 16, 1922 


MOVING PICTURE WORLD 


183 


Eastman’s $5,000,000 Theatre 
the Home of Wonders 

First-Day Visitors Number 6,000; Lighting Increases Gradually 


R ochester, n. y„ Sept. 4.— 

George Eastman’s princely 
$5,000,000 gift — the Eastman 
Theatre — to the people of Rochester, 
through the trusteeship of the Univer- 
sity of Rochester, was publicly and 
officially thrown open today. Some 
20,000 people made their way to this 
splendid theatre on the first day, but 
only two-thirds of that number were 
able to get inside the auditorium, 
which in artistic beauty and modern 
construction is second to no theatre 
in the world. Interesting, too, is the 
fact that this is the first temple of 
cinematographic art operated by a 
university. 

While the theatre was thrown open 
to some 6,000 invited guests, repre- 
sentative of every line of endeavor, 
on Saturday — in the afternoon for in- 
spection and in the evening a dress 
rehearsal — Rochester people were 
given the first opportunity today. And 
they did not pass up the opportunity 
despite the fact that the weather was 
bad. 

Exhibitors and exchangemen from 
Buffalo, Syracuse, Albany and New 
York were on hand in great numbers. 
Many well-known film men, such as 
Adolph Zukor, of Famous Players- 
Lasky, officials of First National, 
Goldwyn, Film Booking Offices and 
other film companies had visited 
earlier in the week, while others, in- 
cluding Will Hays, are expected dur- 
ing the coming week. 

The theatre is the product of a soul- 
inspired moment as truly as the most 
perfect gem of poesy, and equally 
leaves the beholder gasping and in- 
articulate with its sheer beauty. There 
are no details to be gone into, no tech- 
nicalities to quibble about. It is the 
theatre perfect from every angle. And 
for this statement we have the ex- 
pression of those who are equipped to 
comment authoritatively and expertly. 
Every inch of the edifice is in exquisite 
taste (none of the flaunting gaudiness 
of the usual playhouse hastily erected) 
from the heavy velvet carpets to the 
summit of the golden dome. 

The walls are of heavy blocked 
stone and these constitute a perfect 
foundation of the illusion that one has 
walked into a royal palace. It is a 
dream palace, the eight murals com- 
posing the “Pageant of Music.” 

The stage is a wonderful picture. 
The first curtain of black and gold 
opens to disclose a view yet more en- 
trancing. Against a turquoise back- 


ground is splashed the inner curtain of 
a rich Burgundy red with lily-flowers 
of gold. The orchestra, numbering 
some fifty musicians, is on the stage, 
set in much the same fashion as those 
of the Broadway houses. 



Seated, Charles H. Goulding, managing 
director of the Eastman Theatre; 
standing, Arthur Amni, formerly of 
Buffalo, manager. 

Although the theatre was suffi- 
ciently lighted on Saturday night’s 
dress rehearsal, no attempt was made 
until today to light the house as 
brightly as the test shows may be 
done without impairing the efficiency 
of the image on the screen. The 
maximum amount of illumination 
available will be used gradually, ac- 
cording to the theatre officials. This 
will be done in order to accustom 
patrons by degrees to motion picture 
presentation in light surroundings. 

The great dome is magnificent, the 
image of the (^me of Heaven, etheral 
blue melting adistinguishably into 
flaming gold. To attempt to describe 
the theatre further would involve the 
repetition of data submitted readers 
of Moving Picture World by our 
Equipment Department. 


Among the thousands of guests noted at 
the Saturday inspection and dress rehearsal 
were Charles Walton, of New York; George 
H. Bubb, of Williamsport, Pa., director of a 
chain of theatres; E. L. Bloom, manager 
of the New York Winter Garden; Andrew 
J. Cobe, manager of the Central Theatre, 
New York, representing Universal; Fred 
Herrman, manager of the Capitol Theatre, 
Wilkes-Barre, Pa.; Allen Eaton Russell, 
Sage Foundation, New York; Gus Sun, head 
of the Gus Sun Vaudeville circuit, of 
Springfield, O. ; Winfield R. Sheehan, gen- 


eral manager of Fox Film; Charles L. 
Wagner, manager of John McCormack, 
Mary Garden and others; Charles L. 
O’Reilly, president of the M. P. T. O., of 
New York State; Theodore L. Hays, 
managing director of the Finkelstein & 
Rubin Theatres, of Minnesota; Lester S. 
Scott, of Affiliated Distributors, Inc., of 
New York City; Stanley C. Warwick, a 
Palm Beach and West Palm Beach, Fla., 
exhibitor; James N. McGrath, of Pittsburgh. 

A. Milo De Haven, managing director of 
the Kearce Circuit, Charlestown, W. Va.; 
Emerson Dickman, representing Buffalo 
film interests; G. E. Newton, Columbia 
Amusement Company, of Erie, Pa.; Fred A. 
Rice, O-at-ka Theatre, Warsaw, N. Y. ; 
W. V. Dapping, Auburn, N. Y. ; Alexander 
Russell, concert director of Princeton 
University; Spencer Wheadon, of Medina, 
N. Y., head of the motion picture develop- 
ment department of Yale University; Mrs. 
Florence French, editor of Musical Leader, 
Chicago; Pierre V. R. Key, editor of the 
Musical Digest, New York; Miss Constance 
Joslin, R. Charles Roda, news editor of 
Musical America, New York City; Sydney 
Samson, manager of the Buffalo exchange, 
of Grand-North ; Bob Murphy, manager of 
the Buffalo Murphy-Filkins exchange; 
J. S. Hayman, of the new Strand Theatre, 
Niagara Falls, N. Y., which opened a week 
ago, and many others. 


The program for the opening week was 
particularly pleasing. It was headed by 
Metro’s special, “The Prisoner of Zenda,” 
which was voted the best picture shown in 
this city this year. That this production, 
together with the novelty of the new house, 
could remain at the Eastman for a month 
playing to capacity audiences, was indicated 
by the heavy demand for seats made today. 

The rest of the program as presented at 
the dress rehearsal Saturday follows : 
Overture, “1812,” Tschaikowsky, by East- 
man Theatre orchestra; Arthur Alexander 
and Victor Wagner conducting; Eastman 
Theatre current events, musical terpsichore, 
“Russia,” and “The South at Work,” by 
Esther Gustafson, dancing; Eastman 
Theatre Magazine, including for the first 
time on any screen portraits in color by the 
Eastman Kodachrome process; vocal selec- 
tion, “The World is Waiting at Sunrise,” 
Seitz, by Marian Armstrong, a Scotch- 
Canadian soprano; Metro’s “The Prisoner 
of Zenda,” organ exit, Dezso D’Antalffy 
and John Hammond, organists. 


Three de luxe performances are given — at 
2 :15, 7 and 9 p. m. The shows are con- 
tinuous from 1 to 11 p. m. The prices from 
1 to 6 o’clock are as follows : 1,837 seats in 
the orchestra at 30 cents, 405 mezzanine 
seats at 50 cents, 206 loge seats at 40 cents 
and 910 grand balcony seats at 20 cents. 
The prices from 6 to 11 are as follows: 
1,837 seats in the orchestra at 50 cents, 405 
mezzanine seats at $1, 206 loge seats at 75 
cents and 910 grand balcony seats at 35 
cents. There is no war tax. 

One unique feature about the Eastman 
Theatre is found in the absence of boxes. 
The arrangement seems to be satisfactory 
from every angle. In fact, there can be no 
complaint about the seating arrangement, 
for a full view of the stage is obtainable 
from any seat in the auditorium. 


184 


MOVING PICTURE WORLD 


September 16, 1922 


Too Busy to Stop 


Salesmen Hear Rosenbluh Expound 
New System 

So busy is the Fox Film Corporation 
with plans for coming business that 
some of its departments were unable 
to “lay off’ over Labor Day. Among 
those who were kept on the job were 
the salesmen of the New York ex- 
change who are under the supervision 
of Louis Rosenbluh. 

Mr. Rosenbluh is the originator of 
a plan of co-operation between ex- 
hibitor and producer, in which the 
exhibitor becomes the distributor of 
Fox entertainments in his particular 
locality. Mr. Rosenbluh called the 
salesmen into a two day conclave and 
addressed them on the subject of his 
plan, explained in detail its workings, 
and pointed out its advantages. 


Big Season Ahead 

The motion picture industry is en- 
tering upon one of the most successful 
seasons enjoyed since the war, in the 
opinion of E. A. Smith, personal repre- 
sentative of Thomas H. Ince, who has 
just completed a tour of the country. 

“From indications throughout the 
country, I am convinced that, be- 
ginning this fall, the motion picture in- 
dustry will reach the high water mark 
which it touched just before the war,” 
he states. “This applies only to clean, 
meritorious productions, for the public 
will not tolerate questionable plays.” 


Decrease in Stock 

Amendments filed at Austin, Texas, 
during the past week included the 
following: Queen Theatre Company, 

of Galveston, decreasing capital stock 
from $50,000 to $1,000; Queen Building 
Company, of Galveston, decreasing 
capital stock from $150,000 to $75,000; 
Texas Amusement Company, of Gal- 
veston, decreasing capital stock from 
$20,000 to $1,000; Queen Theatre, of 
Galveston, decreasing capital stock 
from $100,000 to $1,000. All of the 
companies mentioned are subsidiaries 
in which E. H. Hulsey, of Dallas, is 
interested. 


Arbitrators Named 

The joint arbitration board, author- 
ized the M. P. T. O. of North Caro- 
lina at its Asheville convention last 
June, is composed of the following 
exhibitor members : H. B. Varner, 

Lexington, C. L. Welch, Salisbury, and 
James A. Estridge, Gastonia'. The ex- 
change members, appointed by the 
Film Exchange Managers’ Association 
of Charlotte, are as follows : E. E. 

Heller, Pathe Exchange, Inc., W. J. 
Kupper, Fox Film Corporation, E. F. 
Dardine, Universal Film Exchange, 
Inc. 


Eckman Goes Ahead 

S. Eckman, Jr., vice 'president of 
Goldwyn Distributing Corporation, 
who for several months past has been 
supervising G o 1 d w y n ’ s eastern 
branches, will take up active supervi- 
sion of the metropolitan district and 
adjacent territory with headquarters 
at the New York exchange. 

George S. Jeffrey, formerly asso- 
ciated with Famous Players in Canada, 
will actively manage the New York 
exchange under the supervision of 
Mr. Eckman. 


Salesroom Opened 

F. B. O. has opened a sales room at 
1026 Forbes street, Pittsburgh, where 
A. R. Cheery, who has been appointed 
division manager with headquarters at 
Pittsburgh, will be glad to receive his 
old friends and customers. The sales 
room will be kept up permanently un- 
til the completion of the new F. B. O. 
premises on Forbes street. This sales 
room will be in addition to the present 
F. B. O. Exchange at 121 Fourth ave- 
nue, which will be maintained as here- 
tofore. 


Moving' Picture 

WORLD 


PUBLISHED WEEKLY BY 
CHALMERS PUBLISHING COMPANY 
516 Fifth Avenue, New York City 
Telephone: Murray Hill 1610 
Branch Office: 

Chicago, 28 East Jackson Boulevard 

John F. Chalmers, president; Alfred J. Chal- 
mers, vice-president: James P. Chalmers, Sr., 
vice-president; Eliza J. Chalmers, secretary 
and treasurer, and Ervin L. Hall, business 
manager. 

Editorial Staff: Robert E. Welsh, editor; 

John A. Archer, managing editor; Epes Win- 
throp Sargent, exploitation; F. H. Richard- 
son, projection; E. T. Keyser, equipment; 
Fritz Tidden, reviews; Roger Ferri, Indepen- 
dent productions, C. S. Sewell, producers news 
and A. Van Buren Powell, Straight from the 
Shoulder Reports. 

Manager of Advertising: Wendell P. Mil- 

ligan. 

Manager of Circulation: Dennis J. Shea. 

Subscription price: United States and its 
possessions, Mexico and Cuba, $3.00 a year; 
Canada, $3.50; foreign countries (postpaid), 
$10.00 a year. 

Copyright, 1922, by Chalmers Publishing 
Company. 

Copyright throughout Great Britain and 
Colonies under the provisions of the Copy- 
right Act of 1911. (All rights reserved.) 

Other Publications 

Cine Mundial (Spanish). Technical Books. 



Member Audit Bureau Circulations. 
Member National Publishers Association. 


Mrs. Vignola Dies 

The mother of Robert G. Vignola, 
the Cosmopolitan director, died on 
Labor Day at her home in Albany, 
N. Y. Mrs. Vignola had been ailing 
for a long time with no hope of re- 
covery and the end was not unex- 
pected. The director was at her bed- 
side as were the other members of the 
family. Mrs. Vignola is survived by 
her husband, three sons and a 
daughter. Interment was in Albany. 


Opens Exchanges 

Paramount announces the opening 
of two new exchanges, one at Wilkes- 
Barre, Pa., and the other at Sioux 
Falls, South Dakota. This brings the 
number of Paramount exchanges in 
the United States to thirty-three. 

The Wilkes-Barre exchange is 
located at 62-66 State street and is 
under the management of Earle W. 
Sweigert. The new Sioux Falls ex- 
change will be under the management 
of A. B. Leak. 


Kuttner Dies 

Edward Kuttner, 51 years old, 
manager of the Kempner Theatre in 
Little Rock, Ark., and widely known 
in theatrical circles in the South, died 
suddenly August 13, as the result of a 
hemorrhage while fishing in a lake 
near Little Rock. The attack, it was 
declared, was brought on by excite- 
ment when Mr. Kuttner landed a fish. 


Congratulations Due 

I. J. Schmertz, assistant manager of 
the New York Fox exchange, is the 
father of a bouncing girl which came into 
the world Friday night, Sept. 1. Mr. 
Schmertz had been to the opening at the 
Lyric Theatre of “A Little Child Shall 
Lead Them,” and when he arrived home 
he was informed that the little stranger 
whom he now will be able to perambulate 
during his leisure hours had arrived 
safely. 


New Department 

The Commercial Fibre Company of 
America, Inc., 15 East Twenty-sixth 
street, New York, announces the 
opening of a raw film department 
under the management of G. Zezza, to 
handle a new raw positive film manu- 
factured by the Fabbrica Italiana 
Lamine Milano (F. I. L. M.). A large 
stock of the film has already reached 
this country. Mr. Zezza, before the 
world war, was the manager in this 
country of the Raw Film Supply Com- 
pany and of the Ambrosio American 
Company. 


September 16, 1922 


MOVING PICTURE WORLD 


185 


Cornwell Opens Delmonte Theatre; 

No Fight on Paramount Intended 


Nathan Frank, recently elected presi- 
dent of the Missouri Famous Players to 
succeed Fred L. Cornwell, resigned, re- 
turned from New York on September 6 
and took charge of his new office. While 
in the East, Frank held several important 
•conferences with Adolph Zukor and 
-others interested in Famous Players. 

Cornwell, who tendered his resigna- 
tion as president early in June after the 
Famous Players-Lasky Corporation pur- 
chased his 1,260 shares of stock in the 
Missouri corporation for $126,000, has 
•opened the Delmonte Theatre, 5624 Del- 
mar boulevard, as an independent first 
run theatre. However, he has disclaim- 
ed any intention of fighting the Missouri 
Theatre, the big first run house of Fa- 
mous Players, stating that he had not 
•decided what film he would use but 
presumed he could obtain Paramount 
pictures if he desired. 

“The policy of the Famous Players cor- 
poration is not to hold a number of thea- 
tres,” he said in discussing his resigna- 
tion, “but to retain a key theatre like the 
Missouri here and sell film to as many 
other theatres as possible. It has been 
learned from experience that a star be- 
comes popular not from exclusive show- 
ings in a few theatres but from general 
exhibition. It was partly, for that reason 
the Famous Players Missouri Corporation 
released all of the neighborhood houses 
about a year ago. And so it is we are 
to run the Delmonte. 

“I have not yet determined what films 
we will run here, but I am sure that we 
can get Famous Players if we want them. 
Adolph Zukor, head of the organization, 
is a broad-minded man. and does not ask 


Invoke Hays 9 Aid 

The Famous Players-Lasky 
Corporation, through special coun- 
sel, Guggenheim, Untermeyer and 
Marshall, retained in the Rodolph 
Valentino suit, has suggested to 
Will H. Hays, president of the Mo- 
tion Picture Producers and Dis- 
tributors, Inc., that the star should 
not enter into contracts with other 
companies during the progress of 
the suit. 

The offer is made to submit the 
terms of the Valentino contract 
for Mr. Hays’ inspection. Valen- 
tino alleges that he did not receive 
the advertising and publicity to 
which the contract entitled him. 


exclusive use of his products by any thea- 
tre.” 

It is understood that the Delmonte In- 
vestment Company, owners of the Del- 
monte Theatre, were paid $120,000 to re- 
lease the Famous Players from a lease 
on the amusement palace calling for a 
rental of $36,000 a year for eight years 
to come. 

Twelve other St. Louisians also held 
stock in the Missouri Famous Players 
Corporation. At one time about 25 per 
cent, of the capitalization was held in St. 
'Louis, but it is understood that all but a 
few shares to qualify officers and di- 
rectors have been purchased by the New 
-York organization at good prices. 

1 The St. Louis Amusement Company 
how controls the former Famous Players 


neighbor houses, having obtained them 
by absorbing the City Wide Amusement 
Company. 

The Delmonte opened with a program 
indicating that the house would make 
things interesting for any amusement or- 
ganization. “Slim Shoulders,” the W. 
W. Hodkinson special, was the feature, 
while a Snappy comedy, “Happy Birth- 
day,” and Fun from the Press were the 
short subjects. In addition, Kitty Gordon 
and her company, including her daugh- 
ter; the Irene Castle Fashion Promenade 
and Virginia Watson and Joseph E. 
Daniels, exponents of Castle dancing, 
were on the bill. 

The advertising campaign handled by 
“Front Page” Crandall was the most 
elaborate put on by a St. Louis theatre 
in many months and is said to have cost 
upwards of $5,000. 

St. Louis theatre and film men are 
wondering whether there is any connec.- 
tion between the appearance of Keith 
stars on the Delmonte program and the 
announcement that Keith interests would 
build a $1,500,000 theatre in Toledo. 


Strike Averted 

A threatened strike of Cleveland op- 
erators "was averted the forepart of Sep- 
tember, when an agreement was made at 
•the last minute. 

The matter had been hanging fire foi 
'some time, the operators asking an in- 
crease, to which the exhibitors objected. 
Under the terms of the settlement, a year’s 
wage scale was signed calling for pay- 
ment of $50 a week to operators in thea- 
tres seating 500 or more, and $45 a week 
for theatres with less than 500 capacity. 


C. E. Cook Chosen 

C. E. Cook has been secured by the 
Motion Picture Theatre Owners of 
Kansas to be business manager. Mr. 
Cook has been on the advertising staff of 
the Kansas City Kansan since its be- 
ginning, having been sent to that paper 
from the Topeka Capital. It was decided 
at the last convention of the association 
to employ a business manager. 


A Busy Birthday 

C. Lang Cobb, general sales manager 
for Color Cinema Company, producers of 
“Artcolor” pictures, celebrated his birth- 
day August 25 by releasing “Artcolor’s” 
first picture, a one-reel comedy entitled 
“Making Hubby Like It,” which is the 
first motion picture produced, photo- 
graphed, printed and developed in natural 
colors, he says. 


Film Exports During June 


Report of the Bureau of Foreign and Domestic Commerce gives the 
following data on film exports for June, to more than forty countries: 

Positive film exported: t Footage Value 

For Australia 1,274,468 $56,094 

For Canada 1,128,667 57,379 

For Argentine 948,232 40,253 

Total for all nations .. 10,276,437 465,328 

Sensitized but not exposed: 

For Japan 2,988,052 87,331 

For England 927,761 29,500 

For Argentine 471,596 12,203 

Total for all nations 4,952,397 149,338 

Exposed negatives: 

England 197,420 15,943 

France 91,893 3,775 

Germany 76 763 6 273 

British West Indies 53,680 1,320 

Total to all countries 529,973 33,595 


186 


MOVING PICTURE WORLD 


September 16, 1922 


.4s A. H. Blank Sees It 


Strike in Cleveland 


A. H. Blank, one 
of the most progres- 
sive exhibitors in the 
country, is a mem- 
ber of the First Na- 
tional Executive 
Committee, Presi- 
dent of Associated 
First National Pic- 
tures, Inc., of Iowa, 
and head of the A. 
H. Blank Enter- 
prises. He is known 
as a lighter from the 
ground up and says 
what he thinks. 

* * * 

Business is certain to pick up, as the pros- 
pects were never better for a bumper crop of 
corn, and prices are gradually coming up to 
normalcy. 


A Staunch Friend 


Film Actors to Speak from This 
Minister’s Pulpit 

The Rev. Christian F. Reisner, of the 
Chelsea Methodist Episcopal Church, 
New York City, has surprised other min- 
isters by inviting motion picture producers 
and actors to speak from his pulpit. “Yes, 
I have been criticized for this,” he 
acknowledges, “but I want my people to 
get in closer touch with those who furnish 
their entertainment. The church can 
work in harmony with motion pictures and 
should use them to greater advantage.” 

The pastor told how he heard a youth 
speak “contemptibly” of a certain actress 
and how he warned him : “Take back 
what you said or I will make you eat your 
words.” Thus warned — the minister is 
six feet tall and athletic — the youth 
hastened to admit he knew nothing at all 
about the actress. “People must think 
clean thoughts,” the minister says. Rich- 
ard Barthelmess, a friend of his, will be 
the first to speak from his pulpit. 
Others will be invited later. 


Exchanges Abroad 

Universal is establishing an exchange 
system in Europe with branch exchanges 
in all important cities, patterned after 
Universal’s American exchange system, 
it was announced this week through the 
Universal home office by Carl Laemmle, 
Universal chieftan who now is in Europe. 
It will be under the direct supervision of 
Universal’s Export Department, of which 
James V. Bryson is manager. 

Universal further plans to release pic- 
tures in Europe practically at the same 
time as the American release dates. It 
has been found that all pictures in pro- 
duction in America get certain advance 
publicity in European trade and fan pub- 
lications. 


The public is displaying less interest in motion 
pictures that it did a year ago, and this is 
partly due to fewer good pictures during the 
last six months than at any time in the past 
three years. 

* * * 

And now the public is becoming more dis- 
criminating in the matter of pictures. Patrons 
of the screen are demanding better and bigger 
productions. The exhibitor who gives them 
big pictures will make big money — provided 
he puts those pictures over in the right way. 

It will be necessary for the exhibitor to give 
more care to his exploitation, and to give 
the public a better show if he intends to main- 
tain the present admission prices, as the public 
is going to expect more for its money in the 
future; or the same show for less money. 

* * * 

We will not get prosperity unless we work 
for it, and the exhibitor who works hard, 
studies his public and keeps his crowds pleased 
will be the one to prosper. 


Building Exchange 

Fox Film Corporation will soon begin 
erection of a modern two-story film ex- 
change building in Dallas, on Jefferson 
street, east and opposite the Jefferson 
Hotel. The building will cost between 
$25,000 and $30,000. 

The building will be twenty-five feet 
wide by ninety feet long and will include 
a projection-room for use in the private 
showing of films. 


Killed in Accident 

Abraham Sinna, one of five men killed 
in an automobile accident near Middle- 
town, N. Y., recently, was a film inspec- 
tor in the New York exchange of Asso- 
ciated First National Pictures, Inc., 729 
Seventh avenue. Mr. Sinna had been in 
the employ of First National for several 
years and was popular among those en- 
gaged in the exchange end of the indus- 
try. His home was in Brooklyn, N. Y. 


NOTICE TO 
HANDBOOK 
PURCHASERS 

Orders on Richardson’s new 
4th edition HANDBOOK OF 
PROJECTION are being filled 
as rapidly as possible. 

Due to curtailed train service, 
however, your copy may be 
late in arriving. 

Be assured, in view of these 
conditions, we are doing our 
best at this end. 

CHALMERS 

PUBLISHING COMPANY 


See No Early End to Battle Between 
Exhibitors and Musicians 

Labor Day brought a severe jolt to 
Cleveland exhibitors, for their musicians 
observed the holiday by striking for an 
increase of $13.50 in salary. In all but 
one theatre, Reade’s Hippodrome, where 
"Manager W. H. Raynor met the demand, 
the increase was turned down. As a 
result Cleveland picture houses are with- 
out music and a long drawn-out fight is 
in sight, for both sides are equally de- 
termined not to give in. 

Every house in the city, excepting the 
Hippodrome, has been affected. These 
include the following downtown houses : 
Allen, State, Park, Stillman, Mall, Al- 
hambra, Strand and all the Loew thea- 
tres. Several of these organized im- 
promptu orchestras, whiLe others will 
show pictures without music. 

Manager Fred Desberg, of the Loew 
interests, speaking for Cleveland exhib- 
itors, made the following exclusive state- 
ment to a representative of Moving Pic- 
ture World on Tuesday, Sept. 5 : 

“For more than three years our theatres 
have been paying to our men more than 
the established union scale. The scale in 
effect at the time of the walkout was 
$46.50 a week. We have been paying 
from $50 to $80 a man a week, according 
to a man’s ability. For instance, a first 
violinist received more than a second vio- 
linist. The union asked for an increase 
from $46.50 to $60 a week a man. We 
were willing to negotiate but not will- 
ing to accede to their demands, which 
amount to a 28 per cent, increase.” 


Loew Returns 

Marcus Loew, who went to England 
to attend the London opening of “The 
Four Horsemen,” returned to New York 
on Friday aboard the s. s. Berengaria. 
•His coming was the occasion for an un- 
usual celebration. Through the courtesy 
of city officials the police boat, “John 
F. Hylan,” was loaned to Mrs. Loew, 
who took a party of friends and promi- 
nent film men down the bay to meet the 
ship at quarantine, and escort it up the 
river. 

On leaving the pier, the party, num- 
bering about a hundred persons in autos, 
was accorded the honor of an escort of 
motorcycle police to the Loew offices in 
the State Theatre building, where a re- 
ception was held. 


ToOpenNewBranch 

James R. Grainger, recently ap- 
pointed by F. J. Godsol, president of 
Goldwyn Pictures Corporation, as his 
personal representative, has completed 
arrangements for opening a new Gold- 
wyn branch suboffice in Milwaukee to 
care for the exhibitors in central and 
northern Wisconsin. 





j 




ETHEL CLAYTON 


In the F.B.O. Special, "IF 1 WERE QUEEN,” adapted from 
Du Vernet Rabell’s Story, "The Three Cornered Kingdom” 









Ethel Clayton in the F.B.O. Special, 
"IF I WERE QUEEN" 


v y-AjJwaBjtai 





One of the Many Striking Group Scenes in "IF I WERE QUEEN 






Ethel Clayton in the h.B.O. Special 
"IF I WERE QUEEN" 





wf i 

■ ’% ' 


1 * 

1 

r ■■■ . J 

i -J0 

&■ 





Ethel Clayton, in the F.B.O. Special. "IF I WERE QUEEN 




Kids, Animals, Laughs! 

Hal Roach 

presents 

“Our Gang” Comedies 

Two Reels 


new as tomorrow; as 
brilliant as sunlight! 

Hal Roach has given 
Old Man Gloom a death- 
blow with this cast of ir- 
resistible kids, assisted by 
the funniest trained do- 
mestic animals you ever 
saw. 


There is nothing like 
them. 

Put them on your screen 
so every man, woman and 
child in your community 
can have the luxury of 
a solid half hour of 
laughter. 

One every four weeks. 




More Laughs, Longer L 





Tw 


M ILLIONS are laughing at 
the funny little fellow 
with the big mustache in 
Hal Roach one reel comedies, 
produced during the last two 
years. 


Tens of millions will thank 
Hal Roach, as they hold their 
sides, for the new two reel 
“■Snub” Pollard comedies made 
as Roach knows how to make 
them. 

Marie Mosquini, “Sunshine 
Sammy” and “Cross-eyed Slim, 
the others of that brilliant cast, 
are in them too. 

Yours for “more laughs, longer 
laughs, longer comedies.” 


One every four weeks 


aughs. Longer Comedies 



rd Comedies 

Reels 


“Snub” Pollard Comedies 

Produced by Hal ROACH 


Pafh^comedy 


w 


TRADE 


MARK 





Ruth 


Roland 


in 


The 


Timber Queen 


It teeters on the very edge. 
Will it fall? 

AS though gripped by the irresist- 
ible force of an avalanche, the 
house with Ruth and the hero rushes 
to the very edge of the towering clitf, 
and half over the chasm teeters and 
sways. 

Will it fall ? 

That’s just one of a thousand 
mighty thrills in the best acted, best 
produced, strongest storied and most 
censor-proof Western serial exhibi- 
tors have yet seen. 

Do the public like it? 

They’re eating it up! 


Produced by RUTH ROLAND SERIALS. INC. 
Supervised by HAL E. ROACH 


Pafheserial 

— -<gr 




. 1 * 


187 


September 1 16, 1922 MOVING PICTURE WORLD 


Situation in Detroit 


Scales at Kunsky’s Theatres to Be 60, 
50 and 60 Cents 

The coming season in the first-run 
houses, of Detroit, promises to be one 
of the greatest in their history, at least 
this is the outlook for the next three 
months. Following is a resume of the 
situation at the first-run downtown 
theatres : 

Adams: This John H. Kunsky 

Theatre will adopt 60 cents as the scale 
for first floor seats, at night, and will 
maintain this price for all specials, re- 
gardless of the attraction. All pic- 
tures will be retained for at least two 
weeks, and if business warrants, for a 
longer period. Some of the attractions 
booked are “Loves of Pharaoh,” for 
two weeks ; “Blood and Sand,” for two 
weeks ; “The Storm” and “Man- 
slaughter,” both for at least two 
weeks. 

Madison : Another Kunsky house, 

where the top price for first floor seats 
will be held at 50 cents as at present. 
Most pictures will be held for one 
week only, longer engagements de- 
pending upon their own box-office 
records. “The Gilded Cage” and “The 
Eternal Flame” are already booked. 

Capitol : Kunsky’s latest and big- 

gest house in Detroit will have a scale 
of 60 cents top for first floor seats and 
First National attractions will be 
featured in the main, while the Adams 
and Madison will take the Paramounts 
which are contracted for. Some of the 
coming attractions for the Capitol are 
“The Masquerader,” “The Young 
Diana,” “Slim Shoulders,” “Light in 
the Dark,” with a personal appearance 
of FTope Hampton; “Kindred of the 
Dust” and “The Bond Boy.” 

Fox-Washington : Prices at this 

house for the coming season will be 
50 cents top, with big Fox super- 
specials showing most of the time. 
Among the bookings for the next few 
months are “The Fast Mail,” “Monte 
Cristo,” “Nero” and “A Little Child 
Shall Lead Them.” It is also possible 
that the William Farnum and Tom 
Mix attractions will be shown there. 

Broadway-Strand : This house will 
be strictly open booking, its future 
policy depending on the outcome of the 
suit filed by Phil Gleichman against 
Famous-Players, alleging abrogation 
of contract. Prices will be 50 cents top. 


NoPermanency 

With the passing of M. H. Marko- 
witz as Buffalo, N. Y., manager for 
United Artists, there have been forty- 
nine managerial changes in the local 
Film Row in the past two years and 
eight months, according to one man- 
ager who has kept a careful tally. 


Coming Conventions 


September 12 — M. P. T. O. of 
New Hampshire and other New 
England exhibitors at the Hotel 
Arlington, Boston, Mass. 

September 18, 19 and 20 — M. P. 
T. O. of Iowa and Nebraska at 
Omaha, Neb. 

September 25 — M. P. T. O. of 
Kansas at the Hotel Broadview, 
Wichita, Kas. 

October 10 and 11 — M. P. T. O. 
of Michigan at Flint, Mich. 

The Theatre Owners and Man- 
agers’ Association of Oklahoma is 
meeting this week at the Skirvin 
Hotel, Oklahoma City. 


SheaJoinsHodkinson 


To Work for Exploitation of Excep- 
tional Productions 

J. Frank Shea, until recently gen- 
eral manager of the Grey Circuit of 
Theatres in Maine and New Hamp- 
shire, has joined the W. W. Hodkinson 
Corporation and will work with Harry 
McDonald in the special sales work to 
be given extraordinary productions 
distributed by the Hodkinson organ- 
ization. 

Shea has had much experience both 
in exhibition and distribution of pic- 
tures and has covered most of the 
world for the Fox organization. 

Resigning from Fox in 1919 Shea 
joined the S. A. Lynch Southern 
organization. 

Seeing the great possibilities in 
such entertainment as being offered by 
the Hodkinson Corporation with the 
Irene Castle Fashion Promenade being 
presented with the latest Castle pro- 
duction, “Slim Shoulders,” he was in- 
duced to join the Hodkinson forces. 


Look Out for Him 


J. G. Von Herberg, of Jensen & 
Von Herberg, Seattle, has sent out 
a warning that a confidence man 
is travelling around the country 
representing himself either as 
Mr. Von Herberg or his brother. 

“This man is visiting exhibitors 
in the East and Middle West and 
also business men in other lines, 
and I have received three com- 
munications in the past few days 
from those he called upon. He 
has been active around Detroit 
and New York during the past two 
weeks. The man’s object is to 
raise money under false pretenses 
and persons in the industry are 
warned against him.” 


United Artists Sues 


Allegations Against Grombacher and 
Phelps Taken to Court 

The case of United Artists Corpora- 
tion versus Ray Grombacher and the 
Liberty Amusement Company, of 
Spokane, Wash., to compel the latter 
to play a number of contracts said to 
have been repudiated, has been set for 
September 11, the opening of the fall 
term of court. The suit is for the 
amount of $2,700. Exhibitors and 
exchangemen are greatly interested. 

United Artists also has suit filed 
against O. Phelps, of the Liberty 
Theatre, Hillsboro, Ore., which will 
come up shortly. Phelps, it is alleged, 
contracted to play “Way Down East” 
and gave his check in payment. Later, 
he stopped payment on the check and 
refused to play the picture according 
to the terms of the contract, it is said. 

Suit is further contemplated against 
several other northwestern exhibitors, 
pending the outcome of the above 
suits. Charles R. Harden, manager 
of the Seattle exchange, says he is 
determined that exhibitors signing 
contracts must live up to their agree- 
ments or go to court. 


Seem Villainous 


Gives Reasons Why American Films 
Are Banned in Mexico. 

Explaining why Mexico has banned 
American films, Roberto A. Turnbull, 
of Mexico Cines, S. A., Mexico City, 
says it is because Mexicans are al- 
ways portrayed as infamous creatures 
in the American-made pictures. 

He says that it is nearly always the 
case that when certain film companies 
wish to show a traitor, a kidnapper, a 
coward or general “movie villain,” 
that a Mexican type is chosen. 

Mr. Turnbull states : “We have bad 
things in this country, the same as 
everywhere else, but we have many 
beautiful things, too, worth noticing 
and on the screen. But it seems that 
the American Producer can’t find any 
other type to do the dirty work in pic- 
tures but their next door neighbor, the 
Mexican. I am an ex-cameraman 
from Los Angeles, having worked 
there for eleven years with many of 
the producing companies of that city. 

“Here in Mexico I am one of the 
three owners of the only up-to-date 
Studio and laboratory in Central or 
South America. How would the 
Americans like to see films made by 
this country where the American was 
always the scoundrel whose villainies 
were his downfall ? Or to see pictures 
where one Mexican star would sneeze 
and twenty-three Americans fall dead, 
which is about the average number 
killed by the American star in such 
C9.ses. ” 


188 


MOVING 


PICTURE WORLD 


September 16, 1922 


News from 

% $ c*s 


the Producers 



Finally Decided 


Rumors as to the distribut- 
ing company which would 
handle the second production 
starring Strongheart, the 
wonder dog, were laid at rest 
this week by the announce- 
ment from Associated First 
National Pictures, Inc., and 
confirmed by Laurence Trim- 
ble and Jane Murfin, the pro- 
ducers, that the production, 
“Brawn of the North” would 
be released on the First 
National franchise basis. 

Almost seven months were 
soent in the actual filming of 
the story of the second 
starring vehicle for the dog 
that made such a remarkable 
impression in “The Silent 
Call.” The story was written 
especially for Strongheart by 
Mr. Trimble and Miss Murfin. 
and the locale was selected 
with special attention to the 
scenic possibilities. 

Barclay to Co-Star 
with Conley 

Don Barclay, one o; the best 
known of stage comf'Hns, has 
been signed by Jack White to be 
co-starred with Lig • Conley in 
forthcoming Mermaid Comedies, 
for Educational rele; : 

Barclay and Conh y, who has. 
Educational says. alr< adv achieved 
recognition as one of the coming 
funny men of the screen through 
his work in Mermaid Comedies, 
are both said to be decidedly dis- 
tinctive in style. Their work to- 
gether in “Look Odt Below,” first 
of the new series of Mermaid 
Comedies, promises well for their 
future pictures, it is stated. 

“I believe that Don Barclay is 
one of the most promising come- 
dians in pictures,” said White. 
Barclay is a Flo Ziegfeld “dis- 
covery,” having been “found” by 
tbe boss of the Follies shori'v 
after Barclay discove- -d th fa- 
mous zig-zag hair part. 


A Fast-Moving Trio 

Three Educational pictures be- 
gan a run in the Loew Circuit in 
and about New York City on 
September 4, setting a record for 
one distributing organization. 
The pictures are “A Hickory 
Hick,” a Christie comedy, featur- 
ing Bobby Vernon; “Fair 
Enough,” a Christie comedy, fea- 
turing Dorothy Devore, and 
“Spooks,” a Mermaid comedy, 
with Lige Conley and Elinor 
Lynn. 

With several prints of each in 
use on the Loew Circuit, there is 
a total of 150 days’ bookings for 
these recent Educational releases. 


Mary Carr Essays 

New Mother Role 


Mary Carr, the Fox actress 
who won international fame with 
her admirable portrayal of the 
sad and mistreated mother in 
“Over the Hill,” and whose fol- 
lowing successes, “Thunderclap,” 
a 1921 special, and “Silver Wings,” 
a special on the current season’s 
program which recently com- 
pleted a summer run on Broad- 
way, New York, have been dis- 
tinguished by similar character 
delineation, is to be seen in an en- 
tirely d?fferent “mother” part in 
“Penzie,” Paul H. Sloane’s screen 
version of Florence Bingham Liv- 
ingston's novel, “The Custard 
Cip,” now under production at 
the New York studios of Fox 
Film Corporation, with Herbert 
Brenon directing. 

The scenes with the children 
promise to be among the favorite 


episodes of the picture. Director 
Herbert Brenon has a particular 
fondness for building up “kiddie 
scenes” and takes infinite pains 
with the juvenile actors. Miriam 
Battista, Jerry Devine and Ernest 
McKay, who impersonate the 
three youngsters, respond quickly 
to the sympathetic direction of 
Mr. Brenon. 

It is hardly necessary to remind 
anyone of Alary Carr’s fitness for 
mothering such a brood. Her 
children, in the story, do not use 
her name of Mrs. Penfield, but 
have shortened it affectionately to 
“Penzie.” While there is a well 
defined dramatic thread running 
through the plot, the principal 
strands are composed of amusing 
sequences of character comedy, 
shot through with a wholesome 
and entertaining optimism. 


To Film in East 


Jesse J. Lasky announces 
that George Melford’s next 
production for Paramount 
will be “Java Head,” by 
Joseph Hergesbeimer. It is 
largely a sea story and the 
author will collaborate with 
Waldemer Young in prepar- 
ing the scenario. Mr. Melford 
will bring his entire company 
East and film scenes near 
Salem, Mass., and in the 
Long Island studio. Leatrice 
Joy, Jacqueline Logan and 
Raymond Hatton will be 
among the featured players. 
“Java Head” is the fourth 
production announced to fol- 
low the “First Forty-One,” 
starting in February. The 
other three are Pola Negri in 
“Bella Donna,” Gloria Swan- 
son in “His American Wife” 
and Mary Miles Minter in 
“Sacrifice.” 


Pathe Gets Another 

Series of “Shorts” 


Pathe announces a contract 
with the Kiser Studios. Inc., of 
Portland, Oregon, for the distri- 
bution of a series in one or two 
reels, to begin late this fall. 
These are described as striking a 
fresh note of absorbing realism. 
The first three subjects are “The 
Price of Progress,” “The Royal 
Chinook” and “Fleeced for Gold.” 
The Kiser Studios, Inc., enter- 
prise represents — according to 
George Morton Vinton, director 
of distribution — the development 
of an idea in motion picture pro- 
duction which has the hearty sup- 
port of the heads of a number of 
West Coast industries. “This,” 


P'aygo-ws Pictures offers three 
releases during September, widely 
different from one another. First 
is “The Isle of Doubt,” Septem- 
ber 10, a six ree'er offering in 
which Wyndham Standing is 
starred, adapted from a novel by 
Derek Bram, combines some of 
the characteristics of a high-class 
society drama with the adventure 
and lure of the tropics. The cast 
also includes Dorothy Mac^aill, 
George Fawcett, Warner Rich- 
mond and Marie Burke. Hamil- 
ton Smith directed the produc- 
tion. Release is set for Septem- 
ber 10. 

September 1 7 vyjlj sfe “Face to 


said Mr. Vinton, “is owing to the 
fidelity and thrilling realism with 
which gigantic operations of men 
and machinery are depicted in 
motion picture productions de- 
signed solely for public entertain- 
ment. 

“ ‘The Price of Progress’ shows 
the giants of the forest being 
felled and the daring chances the 
men take in getting the timber 
out. The Sunday Oregonian says 
of this series : ‘These pictures 

are both scenic and educational, 
but they are infinitely far re- 
moved from the drab and dry 
variety that we are often com- 
pelled to sit through.’ ” 


Face.” another six-reeler, which 
combines a criminal case with a 
romance. * Marquerite Marsh and 
Coit Albertson are featured, with 
Richard Stewart, Edna Holman. 
Frances White and Joseph Marba 
playing the other roles. 

In “The Alan She Brought 
Back,” released September 24, 
appear Earle Fox, Doris Aliller, 
Frank Losee, Donald Russ, Harry 
Lee, Frederick Burton and 
Charles Afackay. This is a five- 
reel feature, directed by Charles 
Aliller. It is a drama of the 
Canadian Northwest Mounted, 
but differing from the usual run 
of tales of that country. 


Reports Improvement 
in Business 

W. B. Frank, general sales 
manager of Associated Exhibitors, 
returning recently from a trip 
that took him as far west as Cin- 
cinnati and south to Louisville, 
brought reports of a spirit of de- 
cided optimism manifested by ex- 
hibitors in Pennsylvania, Ken- 
tucky and West Virginia. 

“There is no question but that 
business in these States is picking 
up,” said Air. Frank. “Evidences 
of the improved outlook were ap- 
parent in every city and town I 
visited, and they manifested them- 
selves in more than one way. Not 
onlv are exhibitors willing to pay 
higher prices for big productions 
than they would have considered 
a year ago, but several regard 
business prospects as justfying 
the building of new theatres or 
the reconstruction or improve- 
ment of existing houses.” 


Film Highly Praised 

Exhibitor praise of “The Tim- 
ber Queen,” with Ruth Roland, 
reports Pathe, exceeds in volume 
of direct testimonials of this na- 
ture any previous spontaneous re- 
sponse in the history of recent 
Pathe s'T.als. By way of ex- 
ample. a letter from Afanager C. 
E. Walker. Princess Theatre. 
Santa Ana. Cal., is quoted in part: 

“I opened *‘'is serial on August 
3 to the biggest audience I have 
ever had for a serial. I wish also 
to state. that the second episode, 
which I ran on August 10 and 11. 
did the biggest business I have 
ev< r done with any serial on the 
second episode.” 


Playgoers Present 

Three in September 


September 16, 1922 


MOVING PICTURE WORLD 


189 


Pollard’s Debut 

September 17 marks the 
debut of Snub Pollard as a 
full-fledged star in two-reel 
comedies. The initial stellar 
vehicle of this popular Hal 
Roach player is an eccentric 
comedy, “365 Days,” distri- 
buted by Pathe. The cast in- 
cludes Noah Young and Marie 
Mosquini. The story deals 
with the comic experiences 
that the heirs of an eccentric 
old man have to face to get 
his fortune. Pollard and his 
family live in a captive bal- 
loon which gives the star good 
opportunities for clever com- 
edy work. 

Vignola Returns to 
Studio 

Robert G. Vignola and his com- 
pany have returned to Cosmopoli- 
tan studio, New York, after a two 
week’s location trip in and around 
Stamford, Conn., doing exteriors 
for his forthcoming production, 
“Adam and Eva.” This is the Guy 
Bolton-George Middleton comedy 
which Mr. Vignola is now doing 
with Marion Davies in the leading 
role. 

The scenes which Mr. Vignola 
has just completed required a 
farm of an unusual topographical 
nature. This farm was found 
near Stamford, and with the own- 
er’s permission it was improved 
and rebuilt to fit the story. About 
two weeks were spent on this lo- 
cation, during which the entire 
cast was utilized, among those 
taking part being Tom Lewis. 
Louella Gear, Leon Gordon, Will- 
iam Norris, T. Roy Barnes, Amy 
Ongley, William Davidson and 
Edward Douglas. 


Lichtman Touring 

and Being Feted 


A1 Lichtman, president of the 
A1 Lichtman Corporation, distri- 
butors of Preferred Pictures, 
seems to be the real “globe 
trotter" at this particular time, of 
the picture industry. 

Mr. Lichtman only recently re- 
turned from a tour of the country 
that took: in all sections except 
the South, and last week he left 
for New Orleans to hold a con- 
ference with E. V. Richards, 
general manager of the Saenger 
Amusement Company and owner 
of the Lichtman Corporation 
franchise for the eleven southern 
states. 

Mr. Lichtman expected to re- 
turn to New York the middle of 
this week, but it is more than 
likely that he will not return for 
another week, as he is booked for 
honors at the hands of Harry 
Charnas and the exhibitors of 


“Sherlock Holmes” Is 
October Release 

Goldwyn’s second release for 
the new season— John Barrymore 
in “Sherlock Holmes,” to be re- 
leased Oct. 9, has, Goldwyn says, 
many angles of appeal to exhibi- 
tors and the picturegoing public 
aside from the name of America’s 
outstanding dramatic genius in 
the title role of a picture about 
the most famous character in the 
world’s detective fiction. 

It has a cast of players in sup- 
port of the star whose record of 
past performances on stage and 
screen is alone sufficient to in- 
duce exhibitors to book the film 
and fans flock to it, it is stated. 

The leading woman is Carol 
Dempster, heroine of many D. W. 
Griffith productions, who rose to 
unusual heights of screen acting 
in “Dream Street,” it is said. 


Western Pennsylvania, Ohio and 
Michigan beginning next Sunday. 

This western trip is an excep- 
tional tribute to Mr. Lichtman. 
Beginning Sunday, September 10, 
he will be the honor guest at a 
dinner of exhibitors in the Wil- 
liam Penn Hotel at Pittsburgh. 
The next night a similar honor 
will be accorded him in Cincinnati, 
on Tuesday there will be another 
at Detroit and on Wednesday the 
tour will wind up with a banquet 
in Cleveland. Mr. Charnas, who 
is one of the livest independent 
distributors in the country, con- 
ceived the plan out of recogni- 
tion of Mr. Lichtman’s accom- 
plishment in organizing a com- 
plete national distributing or- 
ganization and getting his first 
release with lull advertising 
accessories, into the exchanges 
before release date. 


Schulberg Details 

His Feature Plans 


“Detailed plans for our features 
to be released shortly are matur- 
ing rapidly,” announces B. P. 
Schulberg, president of Preferred 
Pictures and vice president of the 
A1 Lif htman Corporation, which 
is handling the distribution of his 
products. 

“About six weeks after the 
general release date of ‘Rich 
Men’s Wives,’ set for September 
1, we will have ready for the 
public our second offering, the 
screen version of Wilbur Daniel 
Steele’s prize story, ‘Ching, Ching 
Chinaman,’ which Tom Forman is 
directing. The complete cast, 
headed by Lon Chaney, Harrison 
Ford and Marguerite De La 
Motte, has already been an- 
nounced. 

“The release of the Gasnier 
production of 'Thorns and Orange 
Blossoms,’ featuring Estelle 


Taylor, Edith Roberts and 
Kenneth Harlan, will follow 
closely upon ‘Ching, Ching, China- 
man.’ Work on Bertha M. Clay’s 
famous novel is already well 
under way. 

“The next feature on our first 
year’s program will be ‘Are You 
a Failure?’ This is a screen orig- 
inal written by Larry Evans, a 
magazine writer of wide repute, 
which is bound to be a powerful 
film story. Among the juvenile 
types will be Harrison Ford. 

“We will probably schedule 
‘The Hero,’ Gilbert Emery’s dis- 
tinguished play, in which Richard 
Bennett is starred, to follow ‘Are 
You a Failure?’ We recently 
closed negotiations with Sam H. 
Harris for the screen rights to 
this remarkable play, which the 
New York critics called the best 
dramatic work of 1921.” 


Capitol Praises 

“Makin’ Movies” 


Changes Name 

The company picturizing “The 
Life of Abraham Lincoln” an- 
nounces a change in its corporate 
name from Rockett-Naylor Pro- 
ductions, Incorporated, to the 
Rockett-Lincoln Film Company. 

David H. Naylor, Jr., retired 
from all connections with the 
company and is succeeded by R. 
R. Rockett as president. 


The Capitol Theatre showing of 
“Makin’ Movies” beginning Aug. 
27 started the second of Pathe’s 
Johnny Jones Series of “juvenile 
business” comedies on its career. 
Following the success of the pre- 
vious Johnny Jones release at the 
big Broadway house, “Makin’ 
Movies” is reported to have re- 
ceived a warm welcome by the 
management. All indications 
point, says Pathe, to even heartier 
exhibitor and public approval of 
this comic juvenile aspect of the 
film industry than has been won 
from the start by its predecessor, 
“Supply and Demand,” which has 
caused the entire series to be lib- 
erally booked in single contracts 
all over the country, it is re- 
ported. 

In the case of “Makin’ Movies,” 


the Hollywood preview was rep- 
resented in West Coast news- 
paper reviews, Pathe says, as 
“destined to break several long 
records for two-reel pictures.” It 
is said to have literally set the 
Film Colony buzzing with frank 
desire to congratulate Producer 
McDonald, Director Mason N. 
Litson — and especially those very 
youthful screen celebrities, John- 
ny Jones and Gertrude Mes- 
singer. All of this pre-release 
enthusiasm, Pathe reports, has 
immensely stimulated bookings of 
the entire series of Johnny Jones 
Comedies. 

Reviews of “Makin’ Movies” at 
the Capitol Theatre are reported 
to be fully bearing out the high 
opinions expressed by writers who 
attended the Hollywood preview. 


Effective Plan 


To secure the best results 
• from its East and West Coast 
studios, Paramount will be 
governed by the predominat- 
ing locale of each production, 
the Long Island studio being 
used for Eastern and the 
Hollywood studio for Western 
atmosphere. For example, 
Jack Holt filmed the Eastern 
scenes for “Making a Man” 
in New York, then went to 
California for the remainder, 
while for “Java Head” George 
Melford will come East for 
important scenes. Pola Negri 
will go to the coast for her 
Egyptian and desert scenes. 

Three Specials Head 
Fox Releases 

Three specials head the Sep- 
tember release program an- 
nounced at the New York offices 
of Fox Film Corporation this 
week. They are “Monte Cristo,” 
scheduled for publication Septem- 
ber 3; “A Fool There Was,” for 
September 10, and “Nero,” for 
September 17. 

“Monte Cristo,” directed by 
Emmett J. Flynn, began an in- 
definite pre-release engagement 
at the Forty-fourth Street Thea- 
tre, New York, August 21, follow- 
ing the closing of a long summer 
run of “Silver Wings” at the Apol- 
lo Theatre. 

“A Fool There Was,” the Em- 
mett J. Flynn directed version of 
Porter Emerson Browne’s stage 
play of that name, has already had 
the Broadway showing at the 
Strand Theatre. “Nero,” pro- 
duced at Rome, Italy, under the 
direction of J. Gordon Edwards, 
completes its New York run at 
the Lyric Theatre, September 1, 
after a successful summer busi- 
ness which began May 23. 

Charles Jones will be seen in 
“West of Chicago,” the screen 
adaptation of the story by George 
Scarborough and directed by 
Reeves Eason. The picture will 
be released September 3. “The 
Yosemite Trail” is the title of the 
Dustin Farnum vehicle. It was 
directed by Bernard J. Durning 
and is the screen adaptation of 
Ridgwell Cullum’s story by Jack 
Strumwasser. It was originally 
announced under the title of “The 
One Way Trail.” Release date is 
September 24. 

Howard Mitchell directed the 
William Russell feature, “The 
Crusader,” which will make its 
debut to the exhibitor September 
10. “All Wet” is the A1 St. John 
two-reel special comedy for Sep- 
tember. A Katherine and Jane 
Lee re-issue, “Kids and Skids;” 
two Sunshine Comedies, “Puppy 
Love” and “The Tin Bronco;” 
and two Mutt and Jeff cartoons, 
“Court Plastered” and “Nearing 
the End,” complete the list. 


New Title for Film 

The title of “Blood Will Tell,” 
the Tom Mix picture which orig- 
inally was titled “A Kiss in the 
Dark,” has been changed again. 
Its present title is “Do and Dare ” 


190 


Afor/.YC PICTURE WORLD 


September 16, 1922 


Strong List of 

Universal Films 


New Standard 

“The Enchanted City,” the 
work of art by Warren A. 
Newcombe, which has created 
an impression because of the 
forecast it carries of greater 
things for the screen, will be 
released by Educational Film 
Exchanges, Inc., by arrange- 
ment with Howard Estabrook. 

This single-reel subject was 
shown on Broadway, at the 
Rivoli Theatre, and following 
this run has received from 
magazines, newspapers and 
trade publications the most 
enthusiastic praise as a new 
type of picture which, as one 
critic expressed it, “estab- 
lishes a new standard of com- 
parison for moving pictures.” 

“The Enchanted City” is a 
love fantasy, the story of a 
dream told by a youth to his 
beloved as they sit on a cliff 
by the sea. The story is told 
with a series of beautiful 
paintings by Mr. Newcombe, 
which some believe mark a 
far stride beyond anything of 
this sort that has been done 
before in motion pictures. 


Universal’s five feature re- 
leases for the month of Septem- 
ber, several of which have had 
pre-release showings, stack up as 
one of the strongest group of re- 
leases ever put out by that com- 
pany on the same month’s 
schedule, according to reports' 
from Universal. 

At the head of the September 
releases stands “The Storm,” a 
Jewel production, starring House 
Peters, which, it is said, is break- 
ing box-office records from coast 
to coast. Its pre-release engage- 
ments included three separate 
runs on Broadway. Next in the 
list of Universal features is “Top 
o’ the Morning,” a Gladys Walton 
special, from the famous stage 
play by Anne Caldwell. Follow- 
ing “Top o’ the Morning,” there 
will come “The Galloping Kid,” 
with Hoot Gibson; “Caught 
Bluffing,” with Frank Mayo, and 
"Confidence,” with Herbert Raw- 
linson. 


“The Storm” was directed by 
Reginald Barker. Virginia Valli, 
Matt Moore and Joseph Swickard 
play the chief supporting roles. 
"Top o’ the Morning,” the Univer- 
sal release of September 4, was 
directed by Edward Laemmle, 
following his completion of “In 
the Days of Buffalo Bill.” 

The Hoot Gibson picture, “The 
Galloping Kid,” follows “Top o’ 
the Morning.” It was directed by 
Nat Ross. 

On September 18 Universal will 
release “Caught Bluffing,” Frank 
Mayo’s new picture. It is a 
feature production directed by 
Lambert Hillyer. Edna Murphy 
plays opposite Mayo. In “Confi- 
dence,” the Herbert Rawlinson 
picture to be released September 
25, the picture going public w T ill 
have the first opportunity of see- 
ing Harriett Hammond, popular 
bathing beauty, in a leading 
woman role. It was directed by 
Harry Pollard, maker of “The 
Leather Pushers.” 


Preferred Will Film 
“The Hero” 

“The Hero,” which was unani- 
mously proclaimed by New 
York’s dramatic critics as the 
finest play by an American 
author in 1921, has been pur- 
chased by Preferred Pictures, 
Inc., of which B. P. Schulberg 
is president, for immediate 
screen production. 

Negotiations for the play have 
been on for some time and w r ere 
finally closed w T ith Sam H. Har- 
ris this week by A1 Lichtman, 
vice-president of Preferred Pic- 
tures and president of the A1 
Lachtman Corporation, which is 
distributing the Preferred prod- 
uct. 


“Hungry Hearts ’ 

to Be at Capitol 


“Hungry Hearts,” the Goldwyn 
picture, is to receive its first pre- 
release screening at New York’s 
Capitol Theatre soon. This is the 
photoplay of East Side immigrant 
life in New' Y’ork, made from the 
volume of short stories by Anzia 
Yezierska, bearing the same title 
as the picture. E. Mason Hopper 
directed the photoplay. He also 
directed “Dangerous Curve 
Ahead.” 


The chief characters in 
“Hungry Hearts” are said to be 
acted with remarkably life-like 
coloring by Rose Rosanova, E. A. 
Warren, Bryant Washburn, Helen 
Ferguson, George Siegman, A. 
Budin and a dozen others. 

S. L. Rothafel, manager of the 
Capitol Theatre, is arranging for 
one of his special presentations 
in connection with “Hungry 
Hearts.” 


On First Program 

The opening program at the 
beautiful new Strand Theatre in 
Niagara Falls, N. Y., on August 
26, included two subjects released 
by Educational, “Syria, Land of 
Religious Hatred,” a scenic sub- 
ject, and “Nothing Like It,” a 
Christie comedy, featuring 
Dorothy Devore. 


“Blood and Sand” 

Due September 10 


On September 10, Paramount 
releases two of the biggest pro- 
ductions on its fall schedule. 
They are Rodolph Valentino in 
Fred Niblo’s “Blood and Sand,” 
and the Cosmopolitan production, 
“The Valley of Silent Men,” with 
Alma Rubens. 


COMMERCIAL FIBRE CO. 
OF AMERICA, Inc. 

Phone: Madison Square 4430 15 East 26th Street, N. Y. C. 

Sole Agents for 

Fabbrica italiana Lamine Milano 

“F.I. L. M.” 

Positive Raw Film Manufactured in Italy 

Ask for Samples and Prices. 


Paramount points to the 
records “Blood and Sand” already 
has made during pre-release en- 
gagements in New' York, Chicago 
and Los Angeles in justification 
of its claim that it will prove one 
of the greatest box-office attrac- 
tions of recent years. In New 
York, at the Rivoli, all house 
records for a single week, both in 
receipts and attendance, were 
broken. The second week of its 
run it broke the house record for 
a second w'eek by nearly $6,000, 
and so heavy did the demand con- 
tinue that it w'as found necessary 
to run it a third week simul- 
taneously in both the Rialto and 
Rivoli. 

Cosmopolitan’s “The Valley of 
Silent Men,” which has just fin- 
ished an engagement at the New 
York Rialto, has been hailed as 
an ideal picture of the ’Canadian 
Northwest, with its endless snows 
and forests. The story was 
written by James Oliver Curw'ood 
and the scenario by John Lynch. 
The director was Frank Brozage. 
producer of “Humoresque” and 
“The Good Provider.” 


Film Completed 


Camera work on “St. Elmo,” 
the screen adaptation of 
Augusta Evans’ famous novel, 
has been completed at the 
West Coast studios of Fox 
Film Corporation under the 
direction of Jerome Storm, 
according to advices from 
Hollywood. 

The production stars John 
Gilbert, who gives an excel- 
lent portrayal of the Count 
of Monte Cristo in the giant 
Fox special, now playing an 
indefinite run on Broadway. 
“St. Elmo” will be an early 
fall release. 

The members of the cast, 
headed by Bessie Love in the 
feminine lead, are Warner 
Baxter, as Murray Ham- 
mond; Nigel Brullier, as Alan 
Hammond; Barbara La Marr, 
as Agnes Hunt, and Lydia 
Knott, as Mrs. Thornton. 
Gilbert essays the part of St. 
Elmo Thornton. The con- 
tinuity was prepared by Jules 
Furthman. 

“St. Elmo” has been on the 
stage for many years, where 
it scored as a great drama. 
On the shelves of book-stores 
it is known as one of the 
best-sellers of its day. 


F. B. O. Will Film 
Doyle Book 

“The Hound of the Basker- 
villes,” the film version of the 
famous Sherlock Holmes novel 
of the same name, with Eille Nor- 
wood in the role of the great de- 
tective of fiction, will be an early 
release of the Film Booking 
Offices of America, announces 
that company. It has been tenta- 
tively set to follow the first Ethel 
Clayton production, “If I Were 
Queen” on the F. B. O. program. 

This Sherlock Holmes picture is 
of feature length and, it is said 
follows closely the original story' 
by Sir A. Conan Doyle, which is 
published as a complete novel. Be- 
cause of this latter fact, states 
the F. B. O. the title has a defi- 
nite box office value, inasmuch as 
the story' is known under its own 
title and not simply as “one of 
the Sherlock Holmes stories.” 

As transcribed to the screen 
“The Hound of the Baskervilles” 
is one of the most unusual my r s- 
terv stories ever made, states F. 
B. O. 

Booked Extensively 
in New England 

“Making Hubby Like It,” an 
Artcolor picture distributed by- 
American Releasing Corporation, 
has been extensively booked in 
the New England and Philadel- 
phia territories. This includes 
the Black New England Theatres; 
Famous Players Houses in New 
England ; W. P. Gray Circuit and 
Empire Theatres. Inc., of New 
England: and Commerford and 
Stanley of Pennsylvania. 

“Making Hubby Like It,” was 
produced, photographed, printed 
and developed in natural colors 
by the artcolor process. 


September 16, 1922 


M OF 1 V C PICTURE WORLD 


191 


More Fashion Shows to 
Exploit “Slim Shoulders” 


Books Lloyd 

Edward L. Hyman has 
selected the Harold Lloyd 
five-reeler, “Grandma’s Boy,” 
as the feature for the third 
anniversary celebration at the 
Brooklyn Strand, week of 
September 10, to be presented 
with a special program and 
personal appearance of stars 
and city officials. This Asso- 
ciated Exhibitor’s attraction 
now running at the New 
York Strand, is in its seven- 
teenth week at the Symphony 
in Los Angeles, and enjoying 
long runs elsewhere. 


Jane Novak Stars in 
F. B. O. Film 

“The Snow Shoe Trail,” a 
Chester Bennett production, 
starring Jane Novak, is the cur- 
rent attraction offered by the 
Film Booking Offices of America, 
the picture being scheduled for 
mid-September release. “The 
Snow Shoe Trail” is the third of 
the F. B. O. “Box Office Ten,” 
with which that company is open- 
ing the fall season. 

Following “Colleen of the 
Pines,” this new Chester Bennett 
production will, it is stated, fur- 
ther enhance Miss Novak’s repu- 
tation as a star in her own right. 
It is a story of the Northwest 
which combines a goodly number 
of society scenes in the earlier 
reels. 


Klein Joins F. B. O. 

Harry Berman, general man- 
ager of distribution of Film Book- 
ing Offices of America, announces 
the appointment of Joseph Klein 
as manager of the F. B. O. Chi- 
cago Branch, to succeed C. R. 
Plough, who has resigned. An- 
other addition to the Chicago 
staff is Louis P. Kramer, who has 
resigned as manager of publicity 
for Universal’s Kansas City office 
to direct the publicity and adver- 
tising at the Chicago Exchange 
of the Film Booking Offices of 
America. 


Nearing Release Date 

Goldwyn Pictures Corporation 
announces that three more of its 
“big twenty” productions for the 
coming season have reached the 
editing and titling stage, complet- 
ing the entire first list of releases 
with the exception of the last in 
the series, “The Strangers’ 
Banquet,” which Marshall Neilan 
is producing in association with 
Goldwyn, with Hobart Bosworth 
in the lead. 

The three productions now 
being edited are “The Christian,” 
“Gimme” and “Broken Chains.” 


To Be Feature 

“The Hound of the Bas’^er- 
villes,” a screen adaptation of the 
famous Sherlock Holmes novel by 
Conan Doyle, will be the feature 
attraction at the Capitol Theatre, 
New York, during the week of 
September 10. It is a Film Book- 
ing Offices of America release, 
which has been scheduled for 
early distribution through F. B. O. 


Hodkinson says the instantan- 
eous success of the Irene Castle 
Fashion Promenade idea in which 
six mannequins and a couple in- 
terpreting the new ballroom 
dances accompany the latest 
production of this popular star 
has made it necessary for the 
Hodkinson company to assemble 
three units to take care of the big 
key city bookings. One company 
of six New York models appear- 
ing in charming frocks and eve- 
ning gowns will be seen at the 
Capitol Theatre the week of Sep- 
tember 3. Starting the new sea- 
son, a second company has been 
selected to re-open the big Del- 
monte Theatre in St. Louis, this 
engagement running nine days 
from September 1 and a third 
company begins a tour of Michi- 
gan and surrounding territory on 
September 10. 

The New York company goes 
to Newark immediately after 
completing the .engagement at 
the Capitol and from there goes 
to the Strand Theatre, Brooklyn 
for a week’s engagement. Fol- 
lowing the engagement in St. 
Louis that unit will go to Spring- 
field, 111., Terre Haute, Ind., 
Evansville, Ind., Sioux City and 
Davenport, Iowa and Omaha, 
Nebraska. 

The third unit after completing 
the Capitol Theatre, Detroit, 
showing goes to the Capitol 
Jackson, Michigan, Desmond The- 
atre, Port Huron, Michigan, Re- 
gent Theatre, Bay City, Michigan 
and then to Lansing and Grand 
Rapids. 

Harry McDonald, cf the Hod- 
kinson office, who conceived the 
idea of the units, nr, king it pos- 


Beginning September 14, Cos- 
mopolitan Productions will 
present “When Knighthood Was 
in Flower,” starring Marion 
Davies, for an indefinite run at 
the Criterion Theatre, New York. 
The theatre will be closed for sev- 
eral days prior thereto while the 
interior is being changed, includ- 
ing the installation of twelve 
loges and enlargement of the 
orchestra pit to accommodate 
fifty-two musicians. 

It is announced that the total 
cost of this production exceeded 
$1,500,000 and that nothing has 
been left undone to make it the 
outstanding film feature of the 
season. The settings are by 
Joseph Urban, who has also ar- 
ranged a prologue in keeping with 
the splendor of the picture. 

There will be a special edition 
of the novel by Charles Major on 
which the film is based. Striking 
posters of Miss Davies have been 
made by Artists Christy, Leyen- 
decker, Benda and Link. 

The scene showing the wedding 


sible for exhibitors to offer pa- 
trons the double attraction of a 
highly entertaining motion picture 
and an advanced showing of 
fashions as seen by Mrs. Castle 
during her recent trip to Europe, 
states that ten companies could 
start out the first of September 
and continue playing the biggest 
theatres of the United States for 
a period of three months without 
interruption, so great has been 
the demand for the Irene Castle 
Fashion Promenade with “Slim 
Shoulders.” 

Traveling ahead of each unit 
will be a publicity man to ar- 
range for department store tie- 
ups and various other publicity 
stunts that will center interest in 
this Hodkinson entertainment 
when it reaches the key cities. 

As soon as the three companies 
of mannequins are outfitted and 
sent from New York three addi- 
tional companies will be assem- 
bled for bookings that bring the 
companies all through the south 
and southwest. Two companies 
will be assembled in California to 
cover the coast cities and travel 
as far east as Colorado. A New 
England company will start about 
October 1 and tie-up with the 
personal appearances of Mrs. 
Castle with her orchestra during 
that month in the principal cities 
of New England. 

This will make a total of nine 
companies that will be working 
by the first of October with 
eighteen advertising men, nine 
ahead of the Fashion Promenade 
companies and nine going along 
with these units, stirring up in- 
terest all over the country in 
“Slim Shoulders” and the fashion 
show. 


procession is said to have been 
the largest indoor set ever con- 
structed, and 3,000 actors were 
used. To have everything au- 
thentic, foremost experts were 
employed. Cartier furnished the 
antique jewelry; Dr. Dean, for- 
mer curator of armor at the Met- 
ropolitan Museum, secured the 
armor; Sir Joseph Duveen, the 
Gothic tapestry; Mrs. Thurlow 
designed Miss Davies’ fifteen 
elaborate gowns, and James 
Murray, fencing master for New 
York Athletic Club, directed the 
tournament scene. 

The production was directed by 
Robert G. Vignola and sixteen 
assistants. The supporting cast 
includes the celebrated English 
actor, Lyn Harding, brought to 
this country for the role of Henry 
VIII, together with Forrest 
Stanley, Pedro DeCordoba, 
Ernest Glendenning, Ruth Shep- 
ley, Johnny Dooley, William Kent, 
George Nash, Macey Harlam, 
William Norris and Gustave Von- 
Seffertitz and others. 


New “U” Serial 

Following its policy of pro- 
ducing serials with educa- 
tional value, yet filled with 
thrills and romance, Univer- 
sal is making a new serial, 
“Around the World in 
Eighteen Days.” The story is 
being written by Carl 
Coolidge. J. P. McGowan 
will direct it. The star has 
not yet been announced. 

Blackton Film Wins 
in Brooklyn 

J. Stuart Blackton’s Prizma 
color production “The Glorious 
Adventure,” featuring beautiful 
Lady Diana Manners, said to be 
the first all-color feature, was well 
received at the Brooklyn Strand 
during the past week. 

“The dramatic story shows 
much action from start to finish 
and a riot of color in every 
scene,” says the Brooklyn Eagle. 
“At last a new dramatic sensa- 
tion” says the Standard Union. 
“Lady Diana Manners enacts a 
most difficult role with a grace 
and dramatic appreciation that 
becomes a revelation,” says the 
Brooklyn Times. 


Work Is Started on 
New Film 

Work has begun on Earle 
Williams’ new feature, “You 
Never Know,” and a number of 
the opening scenes have been 
shot. Gertrude Astor is playing 
opposite Earle Williams. Miss 
Astor, whose clever work in “The 
Spenders,” “The Lion Man,” 
“Through the Back Door” and 
other successes, is vividly remem- 
bered, was selected for her 
eminent fitness for the part of 
Miriam Follansbee. George Field, 
a favorite “heavy,” who will be 
remembered in “Diamonds 
Adrift,” will have the part of 
Medina, the gun-running South 
American revolutionist. Robert 
Ensminger is directing. 

T. H. Ince Announces 
Title Changes 

Thomas H. Ince made an an- 
nouncement this week of the per- 
manent titles of three of his eight 
forthcoming productions which 
will be distributed by Associated 
First National Pictures, Inc. 

The picture which has been in 
production under the title “Jim,” 
from Bradley King’s original 
story, has been titled, “What a 
Wife Learned.” 

The picture which has been 
produced under the working title, 
“Some One to Love,” has been 
title, “Ten Ton Love.” 

“The Brotherhood of Hate,” 
which was the working title of a 
drama, has been finally titled, 
“Scars of Jealousy.” 


COMING SOON 

PERFECT PICTURES 

“neither screen nor stage — 
BUT LIFE'S WINDOW" 


Marion Davies’ Film 

to Run at Criterion 


192 


MOVING PICTURE WORLD 


September 16, 1922 


Selznick Company Well Prepared 
for New Policy of Big Specials 



The announcement made some 
time ago that the Selznick Pic- 
tures Corporation had abandoned 
the Star Series, or Program Plan 
of production, and would during 
the season of 1922-23 make only 
super special pictures, created a 
mild furore throughout the in- 
dustry. It also created a great 
deal of discussion in which the 
ability of the company to do the 
big things which it is setting out 
to do was a topic frequently re- 
ferred to. 

The formal listing of the com- 
pany’s plans showing that such 
stories as Sir Anthony Hope’s 
“Rupert of Hentzau,” Robert W. 
Chambers’ “The Common Law,” 
Eugene Walter’s “The Easiest 
Way” and others of like calibre 
are to be transferred to the 
screen, is likely to start the same 
discussion anew. 

Throughout the industry, from 
its earliest days, it has been 
pretty generally known that 
Lewis J. Selznick, whose name 
the company bears, is the foun- 
tain source of every important 
policy which the Selznick com- 
pany undertakes. The decisions 
on these policies are not arrived 
at and passed upon in the per- 
functory manner all too common 
in big organizations. It is only 
after an exhaustive examination 
of every conceivable detail which 
has to do with a particular policy 
that L. J. definitely makes up his 
mind. 

It would seem, then, that the 
Selznick plan for 1922-23 is best 
examined by a consideration of 
just what “L. J.” has been doing 
and what preparations have been 
made for carrying out the new 
policy. It is quite a tribute to 
the head of the Selznick company 
that a great majority of his asso- 
ciates in the trade — not only ex- 
hibitors, but producers and distri- 
butors — are satisfied to accept 
each new announcement from the 
Selznick offices with the state- 
ment: “Well, if he says he’s 

going to do it, he’ll do it,” basing 


Opens at the Criterion 


“Love Is An Awful Thing,” Selznick’s latest Owen Moore 
comedy special, opened an engagement at the Criterion Theatre, 
New York, on Sunday, September 3. This is the second of the 
Owen Moore pictures to be honored with a Broadway showing 
in the past several months. The other was “Reported Missing.” 
“Love Is An Awful Thing” was directed by Victor Heerman, 
who is also the author of the story. The cast includes, in addi- 
tion to Owen Moore, such well-known players as Marjorie Daw, 
Snitz Edwards, Alice Howell, Charlotte Mineau, Katherine Perry 
and Douglas Carter. 


their conviction upon what the 
doughty boss of the fourteenth 
floor of 729 Seventh avenue has 
done in the past. There are, how- 
ever, some “slants” of particular 
interest which are worth uncov- 
ering at this time. 

There is the element of surprise 
ir. the Selznick announcement 
that the company’s plan of pro- 
ducing only specials is one that 
was long ago decided upon and a 
plan which has been being 
worked out in detail for at least 
three years — surprise, for the 
reason that the Selznick organ- 
ization seemed so solidly wedded 
to the Star Series idea to which 
they adhered so valiantly and so 
long. That the plan was decided 
upon long ago and that systematic 
preparations for it have been 
under way for a long time seems 
apparent, however, upon a little 
examination of the Selznick com- 
pany’s recent activities. 

It will be recalled that in the 
earlier days of the industry it was 
Lewis J. Selznick, then identified 
with the World Film Corporation, 
who first advocated the presenta- 
tion on the screen of the type of 
photoplays which were calculated 
to have the same kind of box 
office draft as attractions on the 
so-called legitimate stage. It was 
during Mr. Selznick’s days with 
the World Film that many of the 
big stage successes were first 
made into photoplays. This 


would seem to indicate that he 
has always been rather keen on 
the kind of screen entertainment 
which the exhibitor could well 
afford to make a fuss about — and, 
after all, this is exactly what is 
meant by the “super special.” 

When the present Selznick or- 
ganization, which comprises as 
its most active units the Selznick 
Pictures Corporation and Select 
Pictures Corporation, the former 
engaged solely in the production 
and the latter in the distributing 
end of the business, was whipped 
into working shape, Mr. Selznick 
was confronted with a lot of 
problems not so easy of solution. 

A producing organization quali- 
fied to do anything and every- 
thing which might be required of 
it — and to perform its tasks with 
an efficiency calculated to insure 
not only its own success, but also 
the success of its patrons or cus- 
tomers — could not be born over 
night, no matter what the experi- 
ence of the one man who w 7 as 
bringing it into existence. A dis- 
tributing and selling organization 
sufficiently strong to cope with 
constantly changing conditions 
seemed equally difficult of estab- 
lishing. A policy of steady, con- 
sistent development, Mr. Selznick 
says, seemed to be the logical 
one. 

“We were perfectly satisfied to 
creep a little before we walked,” 
is the w ? ay the head of the com- 


pany put it. “That we didn’t do 
much ‘creeping’ may have been 
the result of our having picked 
up in record time the kind of 
photoplay attractions with stars 
like Olive Thomas, Elaine Ham- 
merstein, Eugene O’Brien and 
Owen Moore wffiich tl\e industry 
seemed anxious to buy from a 
selling organization built around 
the same chaps who had handed 
them Xorma and Constance fal- 
madge, Clara Kimball Young, 
Alice Brady and others.” 

The trade has seen the develop- 
ment of the Selznick producing 
unit under the personal supeivi- 
sion of Myron Selznick, who has 
always borne the title of presi- 
dent of Selznick Pictures Cor- 
poration. With almost unfailing 
regularity each Selznick picture 
has been just a little bit better 
than its predecessor. For a year 
or more, L. J. Selznick says, the 
producing unit has been “rearin' 
to go” with the bigger things 
w r hich were in prospect. David 
O. Selznick, now vice president of 
Selznick Pictures Corporation, 
has contributed materially to the 
restlessness and the desire to do 
the bigger things ever since he 
has been working “across the 
organization,” touching practi- 
cally every angle of tfie business 
pertaining to both producing and 
distributing. * 


The Twelve Best 

David O. Selznick wdth com- 
mendable bravery offers the fol- 
lowing as his idea of the twelve 
most beautiful and capable mo- 
tion picture actresses. How r ever, 
with true cinema and managerial 
diplomacy he lists them alpha- 
betically. 

They are: Theda Bara, Con- 

stance Bennett, Constance Bin- 
ney, Marjorie Daw-, Elsie Fergu- 
son, Lillian Gish, Corinne Grif- 
fith, Elaine Hammerstein, Mae 
Murray, Mary Pickford, Xorma 
Talmadge and Alice Terry. 




September 16, 1922 


MOVING PICTURE WORLD 


193 


Theda Bara to Return as a Vamp 
But One With An Honest Purpose 


Ask the Oklahoma oil man who 
Theda Bara is and what she’s 
like and he will have a prompt 
response. So will the leading 
spirit in any one of -those bee- 
busy California chambers of com- 
merce ; so will the gold miner in 
the Yukon, the Southern colonel, 
the Parisian, the Londoner. They 
all know about Theda — the pub- 
licity man has told them much 
and they’ve seen her in the 
movies — and you can’t stump 
them with any questions of that 
sort. No sir, Theda is a vamp. 

The writer had the vamp idea 
firmly fixed in his curious mind 
when Miss Bara said, “Why cer- 
tainly, come right up; I’ll be glad 
to see you.” He intended, in his 
ignorance, to watch her through 
cautious, narrowed eyes and 
study her vamping methods. If 
she wouldn’t vamp him, at least 
she might be led into a recital of 
coquettries and conquests. Great 
stuff for the flappers. And pub- 
licity tips for exhibitors. 

But Miss Bara welcomed the 
delegation of newspapermen with 
just the proper shading of 
cordiality and formality, like any 
accomplished hostess. No play of 
the big dark eyes or intriguing 
shrugs of elastic shoulders. No 
display of temperament or affec- 
tation. No exoticism of dress. A 
wholesome, likeable, conventional 
woman. The visitors sought to 
still a tumult of surprise within 
themselves. Could this be Theda 
Bara, the vamp ? 

You’ve guessed the answer. 
Miss Bara is known as a vamp 
because of the roles assigned her 
in the past, the publicity given 
her by eager space-grabbers. 
Actually, she’s a much misrepre- 
sented person. For instance, the 
story went forth that she was 
born in the African desert. “Just 
where?” an enterprising cub re- 
porter inquired of her publicity 
man. “Two blocks south of the 
Sphinx,” he replied. 

Now you can imagine the 
opinion of her held by a Japanese 
who wrote her as follows : “May 
I honorably request an honorable 
photograph of your honorable 
self as honorably naked as possi- 
ble?” Yes, in the eyes of the 
-world Miss Bara is an out-and- 
out, unqualified, expert vamp. 
She’s been one since she intro- 
duced a new type of trifler with 
affections in “A Fool There Was,” 
a few years ago. 

In tbe Miss Bara, who enter- 
tained the newspapermen, it was 
hard to visualize the Theda Bara 
of the “movies.” The experience 
was one long to be remembered. 
Anecdote and reminiscence and 
humorous quip came from her 
lips like a series of sparkling 
v/aves. She is an accomplished, 
deep-thinking conversationalist. 
Most of the talk was about 
vehicles for her future attractions 
for Selznick. 

“What will be your first vehicle 
for Selznick?” 

It developed that it hasn’t been 


A Promise of Good Pictures 

An impressive feature of the Selznick Pictures Corporation 
1922-23 season announcement is the calibre of the authors who 
will furnish the stories for the forthcoming productions. They 
will be: 

“Rupert of Hentzau,” by Anthony Hope, a sequel to his 
“Prisoner of Zenda.” 

“The Common Law,” a Robert W. Chambers story. 

“The Easiest Way,” Eugene Walters’ famous play. 

“The Reason Why,” by Elinor Glyn. 

“Wine,” William MacHarg’s Cosmopolitan Magazine story. 



selected as yet. Both Miss Bara clapped. That was enough for 
and the Selznick scenario depart- me. My question had Jjeen 
ment are going over a great num- answered far more emphatically 
ber of manuscripts with metricu- than I ever dreamed it would be. 
lous care. Most of them are the Everywhere I went it was like 
product of writers whose names that. 

are known wherever English is “Out in Tulsa, Oklahoma, the 
read. crowd was so great that I had to 

“Of course, it will be a vamp mount a wagon in the street and 
role,” one of the visitors sug- speak. Billy Sunday was preach- 
gested. ing there then and the news- 

“But the story of a vamp with papers said I broke up his meet- 
a definite, worthy purpose,” was ing. Incidentally, afterwards I 
the determined reply. “No more ran into the evangelist in another 
vamping for selfish ends. Let the city. As I walked out of my hotel 
vamp I play be a woman who I found him speaking in front of 
thinks it necessary, for the benefit it. He stopped talking when he 
of others, to pose as a ‘horrible saw me, and for one dreadful 
example.’ Don’t some of our moment I visualized him holding 
present-day flappers, male as well me up before the crowd as an 
as female, need some such object example of utter vampishness. I 
lesson?” think it must have amused him to 

“But does the public still want see how rapidly I disappeared 
you vampish?” somebody asked, from tbe scene, but he didn’t say 
“My tour of personal appear- a word. Later I met him and 
ances, as you know, lasted forcame to like him exceedingly.” 
months and took me all over the “Why can’t some of your New 
country,” Miss Bara explained. York friends give you some good 
“Each time I appeared in a pointers on what type of picture 
theatre I asked the audience if to appear in?” 

they wanted me in the old roles. “New York people, and es- 
A perfect storm of applause pecially New York audiences, 
signified approval. Then I asked can’t tell you what will please a 
to hear from those holding majority of people in the coun- 
different views, and a very few try,” Miss Bara said. “New 


OWEN MOORE IN SELZNICK’S “LOVE IS AN 
AWFUL THING” 


Yorkers are extremely sophisti- 
cated. Some of the stuff that 
draws them won’t do at all in the 
smaller cities and the towns. 
That’s a point all producers will 
do well to remember. I learned 
it beyond the shadow of a doubt 
on my tour.” 

“Then just what will your pic- 
tures be like?” 

“Something like this : A Long 

Island society setting, fast set. 
The chief character will realize 
the irreparable harm of the life 
they are leading and sacrifice her 
reputation by affording them a 
‘horrible example.’ She will outdo 
them in extravagances until they 
learn the lesson. This sort of a 
story will allow me to wear the 
gowns women like to see me in.” 

Nowadays people forget 
quickly. There is always some 
new thing to occupy their atten- 
tion, some new idol for them to 
admire. But, although she has 
been out of pictures for two 
years, the people haven’t for- 
gotten Theda Bara. In fact, her 
absence from the screen has 
whetted their desire to see her 
again. Her personal appearances 
established that. 

Now she is returning and 
everybody is possessed with an 
insatiable curiosity as to what 
characters she will play. Not the 
least curious of all are the ex- 
hibitors, and they will deem it 
glad tidings to learn that Theda 
Bara will return as the vamn un- 
excelled, but the vamp with a 
goodhearted purpose in view, in 
vehicles that will be artistically 
embellished to the nth degree. 
Hard work, says Miss Bara, is 
the keynote to success. Her 
ambitions and enthusiasms should 
carry her far. 

—SUMNER SMITH. 


A Film Event 


Unquestionably the return 
of Theda Bara to the screen 
will be one of the most inter- 
esting film events of the com- 
ing year. Both the public and 
those within the motion pic- 
ture industry will be interest- 
ed in the outcome. Such in- 
terest can mean nothing else 
but good business for such 
exhibitors as show the Thedia 
Bara production which is on 
the 1922-23 Selznick schedule 
of “Sixteen Only.” 

Theda Bara is one of the 
really famous film person- 
ages. At the height of her 
popularity she was perhaps 
the most interesting of all 
the motion picture stars. At 
any rate she attracted most of 
the attention. Miss Bara was 
a favorite with the public 
and they will want to see with 
what success she takes up 
where she left off. 


194 


MOVING PICTURE WORLD 


September 16, 1922 



J. S. Woody’s Crew 

Set For New Records 



JOHN S. WOODY 
General Manager, Select Pictures 

Industry Now Is 
Surmounting Its 
Toughest Grade 

By J. S. WOODY 
General Manager, Selznick 

The industry has just reached 
the crest surmounting the tough- 
est grade it has ever been asked 
to climb. As we pause at the top 
and look back over the arduous 
journey we have just completed, 
it prompts the hope that we will 
never again be compelled to 
make a similar pilgrimage. 

Looking forward, it is quite ap- 
parent that -we now stand on tbe 
very brink of the greatest cycle 
of prosperity ever conceived in 
the brain of the most confirmed 
dreamer. There is no great secret 
as to what will bring about this 
sudden and propitious change in 
conditions. It can be explained 
by three simple words — truly 
great pictures. 

I predict for the season of 
1922-23 the greatest improvement 
in the quality of motion picture 
entertainment attained since the 
advent of the multiple reel. The 
public will enjoy one PTeat _ at- 
traction after another, well into 
the New Year; all of our old 
patrons — augmented by a host of 
new friends— with increasing con- 
fidence will attend the theatres 
until the box-offices literally hum 
with activity. 


More Product 


Select will not be confined 
to the releasing of the Selz- 
nick product and is at the 
present time engaged in pre- 
liminary arrangements for the 
handling of a series of spe- 
cials to be made by three of 
the really well-known direc- 
tors of the industry. 

They will produce inde- 
pendently, and though each 
of them has been heretofore 
noted for lavishness in pro- 
duction, it is promised their 
pictures for Select will exceed 
all previous efforts. 


During the early part of the 
current year, J. S. Woody as- 
sumed the ' general management 
of Select Pictures Corporation. 
Since Mr. Woody’s return to the 
organization (he having been a 
former cabinet member of the 
same company) few changes have 
been made in the selling ranks. 
Select Pictures is proud of its 
representation on the selling line, 
as well it may be. 

Henry E. Wilkinson (“Wilkie”) 
will be found in charge of the 
Albany branch. Mr. Wilkinson 
isn’t a new-comer to the distri- 
buting business and is also a 
veteran exhibitor, having among 
other positions of equal impor- 
tance, held down the managing 
directorship of the Olympic 
Theatre, Pittsburgh, subsequently 
coming to the Arthur S. Kane 
Pictures Corporation as sales 
manager. 

“Ezell” is a password in film 
circles down South — it’s known 
from El Paso to Jacksonville and 
when it’s mentioned southern 
showmen hang out the welcome 
sign. John T. Ezell, who guides 
the destinies of the Select Atlanta 
exchange, is an old time Selectite. 

Benjamin P. Rogers has been in 
charge of Select’s New England 
affaisr for several years. 

Harry E. Lotz not only is a 
pioneer in the picture selling busi- 
ness, but is a Select pioneer with 
it, having held the position of 
western division manager for the 
corporation some three years ago. 
He returns to the organization 
and incidentally to his old home 
town, Buffalo. 

James U. McCormick is just 
plain “Mac” down in the “tarheel 
state,” where the trade in general 
has come to look upon him as a 
fixture. Mac opened the Char- 
lotte office for Select. 

Edwin Silverman grew up with 
the Chicago branch from boy- 
hood. 

Otto P. Hall, in Cincinnati, is in 
new territory, having spent the 
major part cf his fourteen years 
in the picture business in New 
England. 

Albert W. Eden, familiarly 
called “The Antelope” out West, 
where he previously did time in 
the service of Fox, Select and 
Realart, is a stranger in a strange 
land in Cleveland. 

Every exhibitor in Texas knows 
Diaz Callahan. 

James S. (“Jimmie”) Hommel 
came back from the big fracas in 
France a first lieutenant and his 
friends still call him “ The Loot.” 
Los Angeles exhibitors will recall 
the smiling Jimmie as a Select 
salesman. Later Jimmie handled 
Robertson-Cole in Pittsburgh and 
now returns to his old stamping 
ground. Denver, which he has 
adopted as his home. 

James O. (“Jimmie”) Kent is a 
Select landmark in Detroit; he 
opened the place some five years 
ago and is still the boss. 

Dudley (“Dud”) Williston has a 
wide and favorable acquaintance 
. in the Hoosier State. 


James B. (“Jim”) Reilly is abso- 
lutely brand new in Kansas City, 
but he isn’t new to the branch 
managerial end of the picture 
business. 

Oren F. Woody’s able hands 
will hold the Select reins in Los 
Angeles. 

Frank M. DeLorenzo, Mil- 
waukee branch manager, won the 
promotion to this post some time 
ago because of the wonderful 
record he established in the 
selling ranks. 

John E. (Jack) O’Toole is 
probably the best known branch 
executive in the middle and 
northwest country. In Minne- 
apolis, where he holds forth as 
Select director-in-chief, Jack 
numbers among his personal 
friends every exhibitor in the ter- 
ritory. 

Frederick F. Goodrow needs no 
introduction to the trade in the 
Gulf Coast section. 

Henry Siegel has been director 
of sales in the New York terri- 
tory since Select’s inception. 

Nat Beier, who sells the New 
Jersey territory and has his office 
in Siegel’s New York exchange, 
is a veritable Select trade-mark 
in the “skeeter state.” 

Charles D. (Charlie) Touchon 
has been doing big things for 
Select down in Oklahoma for a 
long time. 

To exhibitors out Omaha way, 
there’s only one Sherman T. 
(“Steve”) O’Brien. His whole- 
some Irish smile could be just as 
easily dispensed with as Farnam 
street in Omaha. 

Max Milder has been Select’s 
Philadelphia representative from 
the day they opened for business 
until now. 

David J. Selznick, who is at the 
wheel for Select in Pittsburgh, 
has won a myriad of friends in 
Western Pennsylvania and West 
Virginia since he took over his 
executive responsibilities in the 
“smoky city.” 

James H. Curran, who presides 
over Portland, Me., for Select, is 
another former salesman who 
elevated himself from the ranks 
to a managerial chair. 

Floyd Lewis arrived a long time 
ago. He’s been at the head of 
St. Louis exchange organizations 
for ten years 

Edward C. Mix, branch man- 
ager in Salt Lake City, is playing 
a return engagement there after 
having handled Select in Los 
Angeles for a long time. 

Ralph B. Quive comes back to 
his native San Francisco after a 
lapse of three years. Ralph 
opened the old Vitagraph Com- 
pany offices in Frisco and later 
introduced Realart pictures in 
that territory. 

Paul R. Aust, of Seattle, is one 
of the youngest exchange execu- 
tives in tbe business. 

Louis (Tiny) Reichert’s exhibi- 
tor friends, who are a legion all 
over the country, will be truly 
glad to learn of his return to 
Washington territory. 

“Silent” Phil Selznick and 
Claude C. Ezell are the "fence 
riders” of the Select outfit, serv- 
ing as field representatives. 



SAM E. MORRIS 
President, Select Pictures, Ltd., 
of England 

Distribution of 
Selznick Films 
Now World-Wide 

General Foreign Representative 
Sam E. Morris has been unusual- 
ly successful in disposing of for- 
eign rights of Selznick Produc- 
tions. At the present writing 
there is not a place on the map 
which is not sold up except a few 
small countries in South America. 

During the short time he has 
been abroad Mr. Morris has con- 
cluded contracts for the sale of 
the foreign rights of Selznick and 
Select Pictures in France, Bel- 
gium, Switzerland, Spain, Portu- 
gal, Italy, Austria-Hungary, Po- 
land, Czecho-Slovakia, Jugo- 
slavia, Greece, Bulgaria, Rumania, 
Albania and Turkey. 

These sales, with the excep- 
tions aforementioned, make Selz- 
nick Pictures 100 per cent sold 
throughout the world. 


“Al” Did It 

In this section are a number of 
sketches of Selznick and Select 
officials. Credit is due their 
originator. Al Herschfield, a reg- 
ular member of the Selznick Art 
Department, for his faithful 
transference to these pages of the 
well-known features of this pop- 
ular group of executives. 


As to Moore 


it has been the practice of 
the Selznick company to mar- 
ket the Owen Moore pictures 
as individual attractions and 
in that sense they have been 
“specials.” Under the new 
arrangement, pictures star- 
ring Owen Moore are to be 
bigger and better than they 
have been before. 

Mr. Moore has been devel- 
oped as a leading farce com- 
edy player. His early release 
in the “Sixteen Only” will be 
entitled “A Dollar Down." 
which promises to poke a lot 
of good natured fun at the 
practice of living just one 
jump ahead of the sheriff. 




Selznick's Star Without a Failure 










Claire Windsor and 
House Peters 
in 


— 1 ■» — ■ ■ 1 

RICH MEN'S WIVES'' 

Al Lichtman’s 
Initial Picture 













BUBhi* • - 

Wesley Barry in 

"RAGS TO RICHES" 

A Warner Brothers Picture 






Theodore Roberts, 

George Fawcett 

and Fritzi Ridgeway 


THE OLD HOMESTEAD 

The Players in this Paramount 
Picture are 













( Jfieda Bara 



PERfECT PROJECTION 



Rests Picture Success 
Re sts Theater Success 
RestsVOU R Success 


RICHARDSON'S 

H^NDBC®Kf PROJRCTIO> 

fusi' ojj itne Press! 


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If You Owned the New Handbook of Projection — 


Pages like these would open up to solve 
your projection problems. 

<| Here is an index that really is an 
index. Here are 842 questions 
asked and answered. 

Cfl You cannot duplicate the 
wealth of projection infor- 
mation contained in this 1,000 
page book anywhere else. 


Use this coupon and order today. 


CHALMERS PUBLISHING COMPANY 

516 Fifth Avenue, New York City 



September 16, 1922 


MOVING PICTURE WORLD 


195 





Exceptional Cast 

for “Pet” Picture 


MORRIS KOHN 

Treasurer of Select Pictures, Now 
Playing His Second Engagement 
as a Business Associate of L. J. 
Selznick. He Was Identified with 
Mr. Selznick and Select Some 
Years Ago in Company with 
Adolph Zukor. He Was Presi- 
dent of Realart Until It Merged 
with Paramount. 

Selznick Films That 
Please the “Boss” 

Enthused by the reception his 
productions are mee'ing with 
these days, Lewis J. Selnick is 
looking forward to the future with 
the cheeriest optimism. The latest 
product of his company is scor- 
ing a distinct hit at the Criterion 
Theatre, New York City. This. 
Owen Moore’s special, “Love Is 
an Awful Thing,’’ is drawing 
crowds, despite hot and rainy 
weather, audiences finding in it 
plenty of good American humor. 

“Reported Missing,” Owen 
Moore’s previous special, is scor- 
ing a success wherever it is shown, 
if reports from the producers and 
exhibitors may be believed. That 
“Love Is an Awful Thing” has 
gotten of? to such a flying start 
may be due largely to the appeal 
of “Reported Missing.” 


It is being quite freely said 
around the Selznick offices that 
“Rupert of Hentzau” is to be the 
“pet” picture of the year. The 
enthusiasm which all those con- 
nected with the producing or- 
ganization have for the picture 
has probably been transmitted to 
them by President Myron Selz- 
nick, who seems to have come 
quite honestly by it through his 
personal contact with the dis- 
tinguished English author and the 
intimate inside information he 
was given about the story. 

Mr. Selznick came back to the 
United States with a cast defi- 
nitely outlined in his own mind; 
he had been told many interest- 
ing things which had to do with 
the writing of the story ar.d — 
most importantly — following his 
visit with the author, he had per- 
sonally traveled through the 
beautiful country which is being 
reproduced on the screen as the 
background for the highly roman- 
tic action. 

It is entirely right and proper 
to say that the Selznick Com- 


pany’s “Rupert of Hentzau” has 
been “in production” for the past 
six or eight months. Ever since 
his return from Europe, Mr. 
Selznick has had a staff of men 
and women at work on the mat- 
ter of locations, settings and 
costumes. The value of their re- 
search work, conducted not only 
in this country but abroad, will 
be greatly in evidence when the 
finished photoplay is shown. 

There are few even casual read- 
ers of fiction of adult age today 
who have not read and enjoyed 
both “The Prisoner of Zenda” 
and “Rupert of Hentzau.” And 
those who have read the books 
still retain in their mind’s eye 
vivid pictures of the dashing Ru- 
pert, the romantic Rudolph, the 
charming Queen Flavia and the 
other splendidly drawn charac- 
ters. The biggest successes of 
their respective careers would 
seem to be assured Elaine Ham- 
merstein, Eugene O’Brien, Owen 
Moore and Conway Tearle 
through their being cast for the 
big Sir Anthony Hope picture. 


Enlarge Scope of 

the Selznick News 


Selznick News expects 1922-23 
to be a banner year for its news 
reel. Added to the already big 
camera personnel of 392, Selznick 
News has developed plans to ex- 
tend its pictorial news gathering 
activities to isolated regions of 
Europe, which have figured eco- 
nomically and politically all out 
of proportion to their geographi- 
cal significance. 

E. B. Schoedsack, supervising 
cameraman for Europe, has just 
completed a tour of England, 
France and Germany, where he 
completed arrangements for se- 
curing timely and exclusive news 
subjects. It is expected that per- 
sons of international prominence 


will attend the wor'd-wide expo- 
sition this fall in South America, 
and Selznick representatives will 
cover the mammoth economic 
pageant thoroughly. 

Perhaps the greatest element 
which has brought Selznick News 
to the eyes of 18.000,000 persons 
weekly in the moving picture the- 
atres distributed through this 
country, Australia and South 
America, is the unique titles used. 
This idea was conceived by David 
O. Selznick, younger brother of 
Myron Selznick, in charge of 
production at the United Studios. 
These titles simply perpetuate the 
importance attached to the stor- 
ies at the time they “broke.” 


Myron Selznick and Elaine Ham* 
merstein Climbing Topanga Can- 
yon, Where George Archainbaud 
Filmed Scenes for “One Week 
of Love.” 

“One Week of Love” 
First Special 

The first of the Selznick Spe- 
cials to be released on their 
1922-23 program will be “One 
Week of Love.” This production, 
now in the process of cutting, 
t tling and editing,, co-stars 
Elaine Hammerstein and Conway 
Tearle. It has been, according to 
reports from the West Coast, 
lavishly produced and the West 
Coast Studio executives of the 
Selznick Company believe it to 
be one of the most pretentious 
offerings the organization has 
ever had. 

This information is to some ex- 
tent confirmed by stills which 
have reached the New York 
office. These pictures show ex- 
treme care has been taken in the 
matter of costume and the selec- 
tion of locations has been excep- 
tionally good. The sets are out 
of the ordinary and the new 
lighting system installed by 
Myron Selnick has had an excel- 
lent effect in an artistic way. 


A REAL ALL-STAR CAST FOR “RUPERT OF HENTZAU” 
Elaine Hammerstein, Owen Moore, Eugene O’Brien, Conway Tearle 


196 


MOVING PICTURE WORLD 


September 16, 1922 


In the Independent Field 


So) ROGER FERRI 



Newsy Bits The Week in Review Trade Notes 


Dr. W. E. Schallenberger. president 
of Arrow, spent a busy week com- 
muting back and forth between New 
York and Philadelphia. Right now 
Dr. Schalienberi er. Kay Johnson and 
other Arrow officials are working 
overtime preparatory to the world 
premier showing of “Night Life in 
Hollywood” at Dave Starkman’s 
Woods Theatre in Atlantic City on 
Monday, Sept. 11. 


Among those who attended the 
opening of George Eastman’s §5,000,- 
000 theatre in Rochester on Satur- 
day night, Sept. 2, was Lester Scott, 
sales manager of C. C. Burr's Af- 
filiated Distributors, Inc. And speak- 
ing of the Eastman opening reminds 
this writer that one of the featured 
short subjects on the initial hap- 
pened to be “Out of the Inkwell,” a 
clever cartoon released in the inde- 
pendent market. The Grand-North 
Exchange of Buffalo booked the pic- 
ture. 


Other state righters whom the 
writer spied at the Eastman opening 
were Bob Murphy of the Murphy-Fil- 
kins exchanges of Buffalo and Al- 
bany. and Sydney Samuelson of the 
Grand-North ’ exchange, Buffalo. By 
the way, Sydney Samuelson went to 
New York this week to confer with 
Bobby North. 


As this wTiter hurriedly was mak- 
ing his entry to Cleveland some one 
hailed us. On gazing about we dis- 
covered that the ballyhoo was being 
pulled by none other than Morris 
Schlank, president of Anchor Film 
Corporation of Los Angeles, who had 
just terminated a four-day business 
trip there. He left for Philadelphia, 
from where he will go to Washing- 
ton, Charlotte, Atlanta, New Orleans, 
Dallas and back to Los Angeles. Mrs. 
Schlank is accompanying her hus- 
band, who is selling territorial rights 
on his many pictures. 


J. Charles Davis, 2d, assistant to 
Dr. Schallenberger of Arrow Film 
Corporation, was in Atlantic City 
this week exploiting “Night Life in 
Hollywood” preparatory to its pre- 
mier' in that city next Monday night. 
Following the opening Mr. Davis will 
go to Columbus, O., where that pic- 
ture will be especially shown to the 
Ohio Board of Censors prior to its 
opening at Doc Horator’s Alhambra 
Theatre in Toledo, O., on Sunday, 
Sept. 17. 


Sydney Samuelson, Buffalo manager 
of ‘Grand-North Exchange, is presi- 
dent of the F. I. L. M. Club there. 
Most of the officers of that club are 
State righters. 


David Mundstuk, who formerly op- 
erated the Strand Exchange in De- 
troit, seems to be having his hands 
full. Mundstuk, so the story goes, 
sold his exchange to certain ex- 
changemen, who are now trying to 
get an injunction restraining David 
from interfering with their business. 


Herman Rifkin seemingly beat 
George Fecke to it, for announce- 
ment comes from Producers' Security 
Corporation that the Eastern Film 
Distributors, Inc., of Boston bought 
the New England rights to “The 
Country Flapper,” starring Dorothy 
Gish and Glenn Hunter. 


Lou Baum, vice-president of Equity 
Film Corporation, who is on the 
road disposing of rights to “What’s 
Wrong with the Women,” writing 
from San Francisco to the editor of 
this department, says that he finds 
everybody hurrahing for independent 
pictures. 


W HILE indications for the forthcoming season never were more 
promising for the independent exchangeman, the fact remains 
that most of those operating such distributing enterprises are agreed 
that some sort of radical change in the release of state rights 
pictures must be affected next year. Road salesmen return to their 
home offices with healthy contracts, but in most every case they 
add the information that had the exhibitors been informed last 
July or early last month just what sort of pictures the indepen- 
dents would have for Fall release they could have secured greater 
business. As it is, exhibitors tie up with program exchanges, leav- 
ing only a few open dates for independent box office attractions. 


/ T was a moment of personal gratification when a leading exchange- 
man operating exchanges in Cleveland, Pittsburgh, Cincinnati and 
Detroit informed this writer that “Moving Picture World was the only 
trade paper with a backbone and the only one that the exhibitors seek- 
ing independent pictures read and considered." This exchangeman added 
the statement that he had clipped the statistical table published in Moving 
Picture World’s Independent Number of last July, announcing the State 
right releases for the 1922-23 season, had copies of it reprinted and mailed 
the table to every exhibitor in the territories where he does business. 


T HAT carefully prepared announcement, he said, has been re- 
sponsible for many important bookings. But perhaps we had 
better let the gentleman himself do the talking, so here goes : — 
“Nothing more progressive or more beneficial to the state rights 
exchangeman or exhibitor was issued than that announcement. I 
carefully reprinted it in its entirety. Of course, I could acquire 
territorial rights only to a few of the pictures listed, but, neverthe- 
less, the moral effect the table had on exhibitors in this territory 
was worth one thousand times the price of a year’s subscription to 
the publication. It convinced the independent exhibitor that the 
independent market had progressed and that it was about to re- 
lease big productions that could compete with the much-advertised 
pictures of the program companies. That announcement was the 
best advance agent any independent exchange could have had. 
Keep up that sort of stuff. It’s what the market needs.” 


T HERE always will be competition in the film business. No one 
or two or three concerns ever will monopolize the business. The 
strength of the independent exchangeman and producer is rapidly 
increasing. That is because both are paying more attention to the 
box office and sparing no effort to serve the exhibitor and inciden- 
tally the public. And that is as it should be. But national distrib- 
utors of independent pictures owe it to exchangemen and exhibitors 
to announce their next season product sufficiently in advance to 
allow both to leave time open for the exploitation and exhibition 
of those pictures. 


r HE independent exchangeman is interested in the proposition of get- 
ting dates. The exhibitor in making money on pictures he books. 
The national distribution of these pictures should make the welfare and 
interest of both his concern. Only by timely competition can the inde- 
pendent market ever attain the goal that those of us in it hope it will 
some time in the near future reach. This is a problem that deserves 
careful thought. We have collected considerable data and within the next 
two weeks we hope to comprehensively detail the situation as it exists in 
every territory. 


T HE big independent pictures with exploitation possibilities are 
are being grabbed by exhibitors on the alert for exploitable prod- 
uct. This demand for independent pictures has prompted many ex- 
changemen to make the observation that '“if independents don’t 
clean up this year, they’ll never go over.” 


r HE exchange list when published by Moving Picture World in two 
weeks will furnish the trade with many agreeable surprises. Most 
of the “fly-by-nights” and “blind promotion exchanges ’’ have disappeared. 
Where to no one seems to know and cares less. But there still are a few, 
but VERY few. 


W HEN an exchangeman reaches the point that he knows better 
than the exhibitor what the latter’s theatre patrons want or 
do not want, then is the time to close the doors. Your business is 
selling pictures to the exhibitor, and not dictating to him or telling 
him how he shall or shall not run his house. That’s his business. 


Warner's announcement of last 
week that it would release 18 big 
pictures this coming year certainly 
has started the exchange men talking 
and exhibitors watching for an- 
nouncement of the nature of these 
productions. 


Take it from Fred Cubberly, who 
now manages the Finkelstein & Ru- 
bin exchange in Minneapolis, the 
go-to-the-movie-theatre week in that 
section was a complete success and 
brought thousands of extra dollars in 
rentals to the alert exchangemen. 
The biggest State righters went over 
big, too, according to exhibitor state- 
ments. 


The former Merit Exchange in Buf- 
falo is now known as Murphy-Filkins 
Exchange, with Bob Murphy holding 
down the reins in excellent shape. 
The exchange has moved to larger 
and more spacious quarters in the 
Grand - North Exchange building, 
Franklin street, Buffalo. The Grand- 
North Exchange occupies the front 
part of the building. 


Frank Zambrino, who operates the 
Unity Film Exchange in Chicago, 
covering all of Illinois and Indiana, 
has stored in a large supply of pic- 
tures for fall release. Frank reports 
that the syndicate house managers 
there have finally come to realize 
that the independent exchanges have 
big box office possibilities. 


True Thompson, of True Exchange, 
Dallas, Tex., is yelling for more pic- 
tures like “Burn ’Em Up Barnes.” 
Thompson road-showed the picture 
through his territory, and is said to 
have grossed his biggest money on 
this feature, starring Johnny Hines. 


Nathan Hirsh of Aywon Exchange 
of New Y*ork has put in an unusual 
supply of pictures and is having no 
trouble getting dates. His son. Mel- 
vin, is now in active charge of the 
popular exchange. 


Exchangemen seem agreed that 
William Fairbanks, Ben Wilson's 
new western star, who takes the 
place of Jack Hoxie, of whom very 
little is heard lately, is a box office 
magnet. It's no wonder that Arrow 
is having little trouble disposing of 
rights to the Fairbanks series. The 
first picture of the series, this de- 
partment understands, has been com- 
pleted. and the second will be ready 
for delivery to Arrow about the 20th 
of the current month. 


Exchanges throughout the country, 
handling Arrow pictures, are observ- 
ing Arrow Month during September 
and, judging from the announce- 
ments embodied in theatre ads in 
Middle Western cities and towns. Ar- 
row pictures already are getting a 
good break. 


In reply to a telegram sent by an 
exhibitor-reader of this department 
to the writer, while en route, relative 
to the whereabouts of Harry Sher- 
man. this department will refer the 
correspondent to last week's issue, in 
which appeared the report that he 
is in New York planning a new dis- 
tributing venture. There were no 
further details available at the time, 
however. 


Federated Exchanges of America. 
Inc., evidently are going into the 
short-subject business on an elab- 
orate scale, for this department has 
been informed that when negotia- 
tions now under way are completed 
Federated will release a series of 
nine different short subjects. 


September 16, 1922 


MOVING PICTURE 


WORLD 


19 7 


Wers^dtheiio” Arrow’s Big Fall Special 


The big continental produc- 
tion, “Othello,” will be han- 
dled in this country by Export 
& Import Film Company in 
conjunction with David P. 
Howells. This production is 
now being cut and re-edited 
and it is said a Broadway run 
has been assured. 

Emil Jannings, star of “De- 
ception,” “Loves of Pharaoh” 
and other big successes, is the 
featured player. 


Is “Lost in a Big City ’ 5 


Arrow in Four 

Sales Dealings 

W. Ray Johnston, vice-president 
of Arrow Film Corporation, this 
week sold “Nan of the North,” 
starring Ann Little, to Federated 
Exchange of Pittsburgh for West- 
ern Pennsylvania and West Vir- 
ginia; Progress Pictures Company 
of Chicago for Northern Illinois 
and Indiana; Standard Film Serv- 
ice of Cleveland for Ohio and 
Michigan, and Liberty Film Ex- 
change of Washington for Dis- 
trict of Columbia, Maryland, Del- 
aware and Virginia. 


Still another big special is an- 
nounced for Fall release on the 
independent market. Arrow Film 
Corporation will distribute “Lost 
in a Big City,” adapted from the 
stage melodrama of the same 
title, which was written by the 
well-known actor, N. S. Woods, 
proved to be one of his greatest 
successes and was a big box-of- 
fice bet for a number of years. 

A point of especial interest to 
exchangemen is the fact that this 
picture was made by Blazed Trail 
Productions, the organization 
which produced the big success, 
“Ten Nights in a Barroom” and 
also stars John Lowell, who 
achieved such success in that 
production. In fact, the same 
successful combinations are found 
in the two productions, for L. 
Case Russell is responsible for 
the scenario and Baby Ivy Ward 
appears in an important role. 

In charge of the directorial 
reins is George Irving whose box- 



office successes are legion, and 
Joseph Settle is handling the 
camera. The supporting cast in- 
cludes Jane Thomas, who had a 
prominent role in “Silver Wings,” 
also Charles Beyer, Charles 
Mackey, Leotta Miller, James 
Phillips, Edgar' Keller, and Evan- 
geline Russell, a newcomer, who 


is said to possess unsual screen 
possibilities. 

The same elements which made 
the stage melodrama a big suc- 
cess should also enable “Lost int 
a Big City” to duplicate this suc- 
cess on the screen, as it has love*, 
romance, adventure, action, thrills 
and suspense. 


Two Big Films for 

Producers Security 


A CERTAIN exchangeman from the Middle West this week came to 
town to look over pictures for next season. While discussing grosses, 
this showman— and he is every bit that— had occasion to impart some very 
interesting information. He said that some months ago he looked at 
Equity’s “Where Is My Wandering Boy?” He hesitated about buying, 
but Lou Baum, Equity’s sales manager, finally “sold” him. It was one 
of those reluctant deals. But the attitude toward the picture has changed, 
for, according to this exchangeman, he has grossed more on this picture 
than on all four other big features he is releasing. 

Joe Brandt, director of Federated Exchanges, left last week to perfect 
that organization. There are two territories still open and Joe hopes to 
land these before he returns. 


Producers Security Corpora- 
tion reports the completion of 
the second Smith-Caldwell pro- 
duction, “The Jelly Fish,” which 
is now being cut and titled. 
Wyndham Standing is starred 
and is supported by Dorothy 
Mackaill and J. Barney Sherry. 
Hamilton Smith directed and Ar- 
thur Cadwell is the cameraman. 
Part of the action was filmed in 
the beautiful mountain regions of 
Kentucky. 

Another release announced by 
Producers' Security is “Mr. 
Bingle,” said to be Maclyn Ar- 
buckle’s greatest starring vehicle. 
It is adapted from a widely read 
story by George Barr McCutch- 
eon, which was produced on the 
stage as “Daddy Dumplings.” Mr. 
Arbuckle also was the star of the 
stage production. This picture 


will be state righted and already 
the New York and Northern New 
Jersey rights have been purchased 
by Sam Zierler. A special cam- 
paign will be launched on this 
production. 


Eight States Sold 

Eight states were sold this week 
on the new series of Halltoom 
Boys’ Comedies. The C. B. C. 
Film Sales Corporation, which is 
state righting this series of two- 
reel gloom chasers based on the 
adventures of Percy and Ferdie 
Hallroom, announces the signing 
of contracts with Greater Fea- 
tures, Inc., of Seattle, whereby 
that company secures distribution 
rights to Colorado, Wyoming, 
Utah, New Mexico, Washington, 
Oregon, Montana, and Idaho. 



A lot of funny things are happening in independent circles in New 
England. One particularly well-known exchangeman, who has been given 
the preference by distributors, had a rather bad break last season, but 
despite this his backers supported him to the letter. There seemed to be 
; no end to the bankroll. They endorsed all his buys. But now they are 
balking — and for no reason whatsoever, with the exchangeman so dis- 
gusted he has openly denounced his “angels” and is looking for another 
bankroll. 

— 

A director, who has seen better days, is now ambitious to produce on 
his own — provided a certain young lady whom he has inspired with a 
“starring bug” succeeds in landing the necessary bankroll. This director 
has promised to star the girl provided she gets this money. Meanwhile, 
he is sitting pretty, waiting for the “angel” — and the job. 


New Company Offers 


Series 

The Picture-Art Sales Corp., 
Inc., a newly formed company, 
announces the immediate release 
of a series of eight re-issued fea- 
! tures starring prominent players. 
This will be followed later by sim- 
ilar groups. 

Maurice Pivar, head of the 
company, announces the first lot 
consists of “Two Men of Sandy 
; Bar,” by Bret Harte, starring 
Hobart Bosworth ; “The Place 
Beyond the Winds,” starring Lon 
Chaney and Dorothy Phillips; 
“The Co-Respondent,” adapted 


of Reissues 

by Ralph Ince from the stage 
play; “The Bugler of Algiers,” 
starring Rupert Julian; “Fast 
Company,” starring Lon Chaney 
and Franklyn Farnum; “From 
Broadway to a Throne,” with Car- 
ter DeHaven ; “The Sundown 
Trail,” starring Monroe Salis- 
bury and “The Terror,” featuring 
Raymond Wells and Virginia Lee. 

It is further announced that 
while these pictures have been re- 
edited and re-sub-titled, they are 
being re-issued under their orig- 
inal titles. 



ORANGE 

■OMI 


A TOUCHY 
C • M ■ » Y 



MASTODON FILMS, INC. 

C. C. BURR, Pres. 

133-135-137 West 44th Street 
NEW YORK CITY, N. Y. 

BOOK AT EDUCATIONAL EXCHANGES 



198 


MOVING PICTURE WORLD 


September 16, 1922 


Second C. B. C. 


C. B. C. is about to begin 
production on “Only a Shop- 
girl,” the second of its series 
of big box-office specials. Joe 
Brandt is now on the Coast 
going over the details with 
Harry Cohn. The cast will 
consist of prominent players 
with no one featured. This 
picture is adapted from a 
Charles R. Blaney stage suc- 
cess. 


Graf Here with New 
Film 

Max Graf, vice-president and 
supervising director of Graf Pro- 
ductions, Inc., of San Francisco, 
arrived in New York this week 
to consummate releasing arrange- 
ments for “The Forgotten Law, 
the first of a series of feature 
productions to be filmed by the 
new organization. 

The story was adapted from 
Caroline Abbott Stanley’s novel, 
“A Modern Madonna.” 

The photoplay has been en- 
acted by a cast including Milton 
Sills, Cleo Ridgely, Jack Muihall, 
Alice Hollister, Alec B. Francis, 
Ednah Altemus and little Baby 
Muriel, with James W. Horne 
directing. 

Mr. Graf expects to remain in 
New York about three weexs in 
order to complete his releasing 
and sales arrangements and to 
make a survey of the literary 
market for material for future 
productions to be made by his 
organization. 


btate Rights 

Incorporations 


Treniuu, N. J. — Independent Picture 
E.xhibiiois, Jersey City. Capital, $75,- 
0(XI. Incorporators, Samuel Pesiu and 
Louis J. Kriegel, Jersey City, and H. 
David Zerrnau, Union Hill. 


Albany, N. Y.— Ealt Pictures Corp., 
New York. Capital, $5,01)0. Incorpora- 
tors, 1. S. Borden. U. M. Arthur ajid 
K. Mailer. Attorney, D. Mailer, 1540 
Broadway. 

Dover, Del. — Turustall Film_ Ex- 
change. Wilmington. Capital, $50,000. 
Attorney, Corporation Trust Co. of 
America. 


Albany, N. Y. — Stanep Amusement 
Corp., Bronx. Capital, $10,000. Incor- 
porators, A. Stanzler, J. Epstein and 
C. Cartoon. Attorney, Kornblush & 
Hotter, 154 Nassau street. 


Dover, Del. — Russian Pictures Corp. 
Capital, $1,000,000. Incorporators, 
Harry Stern. Morris Greenberg and 
Isaac Schmal. New York. Attorney, 
De’aware Corporation Co. 



Burr Offers New 

Two-Reel Series 


With the announcement this 
week that producer C. C. Burr 
had signed Raymond McKee, 
popular “legitimate” actor and 
male lead to Shirley Mason in 
over a dozen pictures, to appear 
as the male star of the new 
series of two-reelers to be known 
as “All-Star Comedies,” this pro- 
ducer gave form to his beliefs 
that the two-reel comedy when 
produced by an efficient organi- 
zation that understands public 
and box-office psychology is in- 
valuable to the exhibitor and de- 
serving of concentrated thought 
of production. 


The deals recently made by 
Warner Brothers with represen- 
tative showmen throughout the 
country assure first run bookings 
of the entire series of seven 
forthcoming Warner pictures, the 
Warners state. 

Finkelstein and Rubin will show 
the pictures throughout their 
chain of theatres in Minnesota 
and North and South Dakota; 
Balaban & Katz will give the 
pictures first run showings in 
Northern Illinois; Spyros P. 
Skouras in St. Louis; A. H. 
Blank in Iowa and Nebraska ; H. 
Lieber in Indiana; Independent 
Film Corp., Phila., is negotiating 
with the Stanley Circuit; A. M. 
Fabian in Northern New Jersey; 
Regal Films, Ltd., Toronto, 


Under the supervision of 
Adolph Weiss, the work of pre- 
paring the feature at present 
titled “Destiny,” is nearing com- 
pletion. The task of editing and 
titling this film has been en- 
trusted to Katherine Stuart, re- 
sponsible for the cutting and 
titling of “After Six Days.” 
Mark Toby, Greenwich Village 
artist, is preparing a series of art- 
istic paintings to be used in 
conjunction with the film. The 
production, in point of scenic 
investitures, is said to be ex- 
tremely rich. It is the intention 


With this thought in mind, Mr. 
Burr intends making comedies 
that are all-star in every respect. 
Burr’s success with the Torchy 
Comedies, featuring Johnny 
Hines are said to have been not- 
able, and judging from his plans 
it is said the All-Star Comedies 
will probably equal the record 
made by the “Torchy Comedies.” 
Production on this new series 
has already been started at 
Burr’s Glendale Studio under the 
guidance of the same production 
staff that was responsible for the 
success of the Torchies. 


throughout Canada; Franklin 
Film Company, Boston, in the 
New England states; Skirboll 
Gold Seal Productions in the 
state of Ohio; Joe Skirboll in 
West Virginia and Western 
Pennsylvania; L. K. Brin in the 
Northeastern states; E. G. Tuns- 
tall in Wisconsin; S. & O. Pic- 
tures on the west coast; M. 
Mitchell throughout the south. 

The seven pictures include 
“Rags to Riches,” and “Little 
Heroes of the Street,” featuring 
Wesley Barry, “The Beautiful 
and Damned,” the F. Scott Fitz- 
gerald novel; “Alain Street,” by 
Sinclair Lewis; “Brass” the novel 
by Charles G. Norris; “A Dan- 
gerous Adventure,” with Grace 
Darmond; “Little Church Around 
the Corner,” by Alarion Russell. 


of Weiss Brothers to present this 
picture at a special Sunday eve- 
ning showing in one of the 
leading Broadway theatres, with 
augmented orchestra, special mu- 
sic and an appropriate prologue. 
The purpose of this showing will 
be to secure bids from the 
various big distributing organi- 
zations, as it is the belief of the 
executives of Artclass Pictures 
Corporation, as well as others 
who have seen this film, that it 
will prove one of the outstanding 
special attractions of the